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THE 


HISTORY  AND  PRACTICE 

OF  THIS 

ART  OF  PHOTOGRAPHY; 

OR  THE 

PRODUCTION  OF  PICTURES, 

THROUGH  THE  AGE.TV  OF  LIGHT. 


CONTAINING 


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fe>;-  4 

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ALL  THE  INSTRUCTIONS  NECESSARY  FOR  THE  CO  YIP  I -LITE  PIIAC- 
TICE  OF  THE  DAGUERREAN  AND  PHOTOGENIC  "ART, 

BOTH  ON  METALLIC  PLATES  AND  ON  PAPER. 


BY  HENRY  H.  SNE1LING. 

THIRD  EDITION,  CORRECTED  AND  REVISED, 

irllustratcti  teiti)  g®?oo&  mts. 


$ 


NEW- YORK: 

PUBLISHED  BY  G.  P.  PUTNAM, 

155  Broadway. 


1851 


PREFACE  TO  SECOND  EDITION. 


The  rapid  sale  of  the  first  edition  of  the  Art  of  Photography, 
has  made  it  incumbent  upon  me  to  issue  a second  several 
months  sooner  than  my  most  sanguine  wishes  led  me  to  hope , 
and  it  is  with  no  ordinary  feelings  of  gratitude  that  I return 
thanks  for  the  liberal  patronage  bestowed  upon  my  humble 
effort. 

The  circumstance  gives  me  pleasure,  also,  on  other  grounds 
than  the  mere  personal  gratification  every  author  must  feel  at 
the  rapid  sale  of  his  works.  It  has  convinced  those  who 
thought  the  enterprise  a hazardous  one — from  an  erroneous 
opinion  that  sufficient  intelligence  did  not  exist  among  the 
Daguerrean  Artists  of  America,  to  appreciate  the  advantages 
of  a text  book  of  the  kind  presented — that  our  operators  are 
not  all  machines,  set  in  motion  like  a steam-engine,  incapable 
of  improvement  beyond  a certain  point.  The  rapid  sale  of 
the  first  edition  proves  conclusively,  that  our  artists,  not 
satisfied  with  the  mere  mechanical  knowledge  of  the  art,  are, 
on  the  contrary,  even  desirous  of  improving  both  it  and 
themselves. 

They  are  now  celebrated  throughout  the  civilized  world  as 
the  very  best  Photographists,  and  it  is  with  a national  pride 


vni. 


that  I record  the  fact,  that  many  English,  French  and  Ger- 
man travellers  of  distinction  have  visited  the  galleries  of  our 
artists  for  the  purpose  of  taking  home  specimens  of  their  skill 
and  excellence,  and,  to  use  the  words  of  one  of  them,  “to 
show  the  artists  of  England  how  far  they  are  behind  their 
trans-atlantic  brethren.” 

While  we  have  such  men  as  Whipple,  of  Boston,  Brady 
and  Lawrence,  of  New- York,  Root,  of  Philadelphia,  White- 
hurst, of  Baltimore,  Davie,  of  Utica,  and  a host  of  others,  from 
Maine  to  Texas,  whose  names  we  should  be  glad  to  mention 
had  we  the  space  to  spare,  sending  forth  their  thousands  of  ex- 
quisitely executed  Daguerreotypes  yearly,  and  ever  ready  to 
search  out  and  adopt  improvements,  we  have  no  fear  that  the 
meed  of  excellence  now  awarded  to  our  American  artists  will 
ever  be  taken  from  them. 

Among  the  improvements  of  the  day,  we  would  again  no- 
tice the  “ Crayon  Daguerreotypes,”  invented  by  Mr.  Whipple, 
of  Boston,  who  will  accept  our  thanks  for  his  favors. 

To  Mr.  Davie,  of  Utica,  we  are  also  indebted  for  many  im- 
provements in  the  art ; among  which,  is  his  plate  vice  and 
buffing  lathe,  described  in  another  part  of  this  work.  In  our 
next  edition — if  we  be  so  fortunate  as  to  issue  one — we  trust  to 
be  able  to  give  to  the  world  such  as  he  does  not,  at  present, 
consider  it  prudent  to  make  public.  While  on  the  subject, 
however,  we  must  apologize  to  Mr.  Davie  for  the  error  we 
committed  in  the  matter  of  the  Plate  vice,  (Fig.  11,)  described 
on  page  51.  This  valuable  article  was  the  invention  of  Mr. 
Davie,  and  not  of  the  Messrs.  Lewis,  and  in  justice  to  Mr. 
Davie,  I am  bound  to  make  this  correction.  It  has  been 
proved  conclusively,  that  seven  months  previous  to  the  appli- 
cation of  Messrs.  Lewis  for  a patent,  Mr.  Davie  manufactured 


IX. 


them  at  Utica,  and  sold  them  to  artists  in  every  part  of  West- 
ern New- York  ; and  I distinctly  remember  having  seen  it  ex- 
hibited in  this  city  by  Mr.  Davie,  at  least  three  months  pre- 
vious to  Messrs.  Lewis’s  claim  to  the  invention. 

The  Messrs.  Lewis  have  done  much  in  the  improvement 
of  Daguerreotype  apparatus,  and  have  the  satisfaction  of  know- 
ing that  their  articles  are  almost  universally  adopted.  They 
deserve  our  thanks  for  their  enterprise,  but  in  speaking  favor- 
ably of  them,  1 must  not  forget  what  is  due  to  others  ; neither 
should  they,  in  their  praiseworthy  efforts  to  improve,  endeavor 
to  deprive  another  of  his  undoubted  rights.  I have  deemed  it 
necessary  to  say  this  much  in  regard  to  the  matter  in  extenua- 
tion of  my  own  error ; the  Messrs.  Lewis  well  know  that  it  is 
not  partiality  on  my  part,  a reference  to  Chap.  Y.  being  proof 
to  the  contrary. 

It  will  be  perceived  that  I have  made  several  valuable  ad- 
ditions to  the  “ Art  of  Photography,”  which  I trust  will  prove 
acceptable,  particularly  the  chapter  on  “ Position,”  which  I 
have  inserted  at  the  request  of  several  artists. 


1* 


PREFACE  TO  THIRD  EDITION. 


We  are  again  called  upon  to  issue  another  edition  of 
this  work  in  less  than  one  year  from  the  publication  of  the 
last. 

We  received  the  following  note  in  regard  to  our  stric- 
tures in  the  second  edition,  respecting  the  Patent  Plate 
Vice.  We  publish  it  and  leave  the  public  to  form  their 
own  opinion  as  to  the  merits  of  the  case.  Candor,  how- 
ever, forces  us  to  declare  that  we  see  nothing  in  all  this  to 
change  our  own  opinion.  The  Messrs.  Lewis  undoubtedly 
consider  themselves  in  the  right,  and  are  therefore  entitled 
to  be  heard,  whatever  may  be  our  own  views.  We  could 
devote  ten  pages  in  giving  our  reasons,  but  we  wish  the 
subject  to  drop  here.  Both  parties  are  now  publicly  heard  ; 
they  must  be  satisfied. 

Mr.  LI.  H.  Spelling: 

Sir — Having  had  our  attention  called  to  some  erroneous 
femarks  in  the  second  edition  of  your  work  on  the  “ Art 
of  Photography,”  respecting  our  claims  as  the  original 
inventors  of  Plate  Vice,  for  which  we  hold  Letters  Patent, 
we  take  the  liberty  to  send  you  the  following  communica- 
tion addressed  by  us  to  Mr.  D.  D.  T.  Davie,  the  gentleman 


PREFACE. 


named  in  your  remarks  in  connection  with  said  Yice,  with 
a request  that  you  will  give  it  publicity  in  your  next  edi- 
tion, and  thereby  do  us  that  justice  our  claim  demands. 

New  York , Feb.  11  th^  1850. 

Mr.  D.  D.  T.  Davie  : 

Sir — Having  lately  received  information  that  you  have 
reported  in  several  places  in  this  city,  (and  we  suppose 
elsewhere.)  that  we  had  not  obtained  a patent  for  our  Plate 
Yice,  we  take  this  method  of  making  you  acquainted  with 
the  principal  facts  connected  with  the  above-mentioned 
Patent,  viz  : Early  in  1846,  we  made  our  first  Yice,  and 
had  it  in  constant  use  (in  fact  we  have  the  same  one  in  our 
possession  still)  until  July  23d,  1848,  when  we  made  ap- 
plication for  Letters  Patent,  which  was  granted  on  the 
23d  day  of  October,  1849  ; which  facts  you  could  have  made 
yourself  acquainted  with  at  any  time  since,  if  you  had 
been  disposed  to  call  upon  us  with  a request  to  do  so. 
The  above  statement  we  are  prepared  to  corroborate  by 
competent  witnesses,  under  oath,  at  any  and  all  necessary 
times  and  places,  to  an  extent  calculated  to  protect  our 
rights  and  interests. 

Yours  respectfully. 

W.  & W.  H.  LEWIS, 

By  John  Dunshe. 

You  will  observe  that  over  two  years  elapsed  after  hav- 
ing made  the  first  Yice.  before  we  made  application  for  a 
Patent — that  length  of  time  having  been  suffered  to  pass 
in  hopes  of  making  additional  improvements,  which  were 
effected,  although  we  did  not  feel  perfectly  satisfied  with 
them : for  since  our  claim  has  been  ratified  we  have  made 
some  very  necessary  and  valuable  improvements,  which 
we  have  the  satisfaction  to  know  have  met  with  general 
approval. 


INDEX 


Accelerating  Liquids. 

Page 

69 

Amphitype. 

120 

Antliotype. 

117 

Apparatus.  Daguerreotype  . 

47 

Calotype 

101 

Photogenic 

91 

A pplication  of  Photogenic  Drawing. 

99 

Applying  the  Sensitive. 

68 

Bringing  out  the  Picture. 

75 

Bromine.  To  make  . 

147 

Bromine  Box. 

55 

Chloride  of 

72.  148 

Roach’s  Triple  Compound 

of 

71 

W ater. 

69 

Bromide  of  Iodine. 

71, 148 

of  Lime. 

72 

Paper. 

95 

of  Silver. 

39 

Bromic  Acid. 

153 

Brushes. 

92 

Buff  Sticks. 

64 

Buff  Powder. 

156 

Calotype  Process. 

101 

Paper.  Exposure  in  Camera  of 

104 

Pictures.  Bringing  out 

ib. 

Fixing 

105 

Camera.  Description  of  the  . 

47 

Stand. 

53 

Woodbridge’s 

ib. 

Calotype 

54 

V oightlander 

49 

Chlorine 

148 

Chloride  of  Bromine.  . 

72 

VI 


INDEX. 


Page 

Chloride  of  Calcium.  ....  155 

of  Gold.  ....  40,  149, 150 

To  make  a solution  of  • . 79 

of  Iodine.  . . . . . 70 

of  Silver.  . . . . . 35,  153 

Chromatype.  . . . . . 116 

Chrysotype.  . . . . . 110 

Cleaning  and  polishing  the  plate.  ...  65 

Colored  Daguerreotypes.  To  take  . . . 132 

Coating  Boxes.'  . . . . 55 

Color  Boxes.  .....  57 

Colored  Daguerreotypes  on  Copper.  . . . 81 

Coloring  the  Picture.  ....  80 

Daguerreotypes.  . . . .133 

Concave  Mirrors,  . . . . . 20 

Convex  Mirrors.  . ....  ib. 

Corchorus  Japonica.  ....  41 

Crayon  Daguerreotypes.  . . . .133 

Cyanotype.  . . . . . .113 

Daguerreotype  Apparatus.  . . . . 47 

Process.  ....  65 

Plates.  ....  66 

Daguerreotypes.  Crayon  . . . . 81 

on  paper.  ....  85 

Davie’s  Improved  Buffing  Lathe.  . . , 145 

Dedication.  ......  iii 

Definitions  of  terms  used  in  optics.  . . . 16 

Different  methods  of  preparing  photogenic  paper.  . 93 

Directions  for  use  of  Galvanic  Battery.  . . 62 

Distilled  water.  .....  92 

Drummond  light.  . . . . .132 

Dry  Sensitive.  .....  72 

Drying  apparatus.  .....  76 


Effects  of  light  on  bodies. 
Energiatype. 

Etching  Daguerreotypes. 


26 

115 

87 


Fifth  operation.  Fixing  the  picture.  . . 65 

First  operation.  Cleaning  the  plate.  . . ib. 

Fluoric  Acid.  .....  73 

Fossil  Powder.  .....  156 

Fourth  operation.  Bringing  out  the  picture.  . 75 

Funnels.  ......  57 


INDEX. 


vii 


Galvanic  Battery. 

Page 

61 

Solution  for  use 

of  . 

62 

Gallic  Acid. 

153 

Gilding  stand. 

57 

the  picture.  . 

78 

Glass.  Pictures  on 

111 

Gold.  Chloride  of 

40 

To  make  solution  of 

79 

Hyposulphite  ; or  Salt  of 

78 

Preparation  of 

40 

Gurney’s  Sensitive. 

• 

71 

Head  Rests. 

• 

61 

Hints  and  Suggestions. 

• 

43 

History  and  Photography. 

3 

Hungarian  Liquid. 

73 

Hygrometers. 

59 

Hydrofluoric  Acid. 

155 

Hyposulphite  of  Gold.. 

78, 150 

of  Soda. 

29,  152 

Instantaneous  pictures  by  means 

of  Galvanism. 

81 

Introduction, 

i 

Iodine.  Dry  . 

68,151 

Chloride  of 

e 

70,  ib. 

Bromide  of 

71 

Box. 

55 

Iodide  of  Silver. 

* 

36 

Ioduret  of  Silver. 

37, 153 

Iodize  the  Plate.  To 

68 

Iodized  Paper  for  Calotypes.  To 

prepare 

102 

To  prepare  for  the  Camera 

ib. 

Lamps.  Spirit  , 

57 

Light.  Theory  on 

15 

Motion  of 

17 

Reflection  of . 

18 

Refraction  of 

• 

• 

21 

On  bodies.  Effects  of 

• 

26 

Prismatic  Analysis  of 

• 

t 

23 

Lime.  Bromide  of  . , 

• 

• 

* 

72 

Lunar  Pictures.  , , 

• 

• 

• 

131 

Mead’s  Accelerator.  , , 

Mercury,  , 

• 

• 

• 

* 

72 

155 

9* 


vm 


INDEX. 


Mercury  Batli. 

. 

Page 

54 

Nitrate  of  Silver. 

. 

93,  153 

Oxide  of  Silver. 

. 

30,  ib. 

Oil  coloring  Daguerreotypes. 

. 

133 

On  tlie  probability  of  producing  colored  Photographs. 

127 

Paper,  blotting;  or  bibulous. 
Daguerreotypes. 

92 

85 

preparation  of 

93 

suitable  for  Photographs. 

91 

Photogenic  drawing  on 

ib. 

Paste  for  sealing  paper. 

156 

Photographic  principle.  The 

23 

Photogin  e. 

156 

Position. 

177 

Potassium.  Chloride  of 

154 

Cyanide  of 

ib. 

Bromide  of 

ib. 

Iodide  of 

ib. 

Potassa.  Chlorate  of 

ib. 

Photographic  process  on  paper. 

96 

drawing.  Application 

of 

99 

To  fix  the 

97 

deviations. 

130 

Photqgraphometer.  The 

141 

Plate  Support. 

63 

Blocks. 

54 

Vice.  . 

55 

Poppy.  The  Red 

4L 

Porcelain  dishes. 

63 

Positive  Calotype. 

108 

Preface. 

V 

Preparation  of  Iodized  Paper. 

102 

of  Gold. 

40 

Prismatic  Spectrum. 

23 

Analysis  of  Light. 

ib. 

Recipes. 

147 

Reflection  of  Light.  . 

18 

Refraction  of  Light. 

21 

Researches  on  the  Theory  of  the  principal  pheno- 
mena of  Photography  in  the  Daguerreotype 
Process.  ... 

159 

Roach’s  Triple  Compound  of  Bromine. 

71 

INDEX.  IX 

Paoe 

Sand  Clock.  ......  74 

Sealing  paper.  To  make.  . . . . 81 

Sealing  Wax.  . . . . . 1 56 

Second  operation.  . . . . . 98 

Sensitive.  . . * . . . ib. 

Silver.  Bromide  of  . . . . 39 

Chloride  of  . . . . . 35,  153 

Iodide  of  ....  * 36 

Ioduretof  .....  37 

Nitrate  of  . . . . 93 

Oxide  of  .....  29 

Solution  of  Chloride  of  . . 63 

Sixth  operation.  . . . . . 78 

Soda,  Hyposulphite  of  . . . 76 

Solar  and  Stellar  Light.  . ..  . . 22 

Still  for  purifying  water.  . . . 58 

Submitting  the  Plate  to  the  action  of  Light  . 73 

Synopsis  of  Mr.  Hunt’s  Treatise  on  Light.  . 30 

Talbotype  Camera.  .....  54 

Theory  on  Light.  . . . . . 15 

Thompson’s  Chloride  of  Gold.  . . . 150 

Accelerator.  ....  151 

Dry  Quick.  . . . 152 

Third  operation.  . . . . . 73 

To  disinfect  a room  of  Bromine  vapor.  '.  . 157 

To  purify  water.  . ....  ib. 

To  take  Daguerreotypes  on  Ivory.  . . . ib. 

Wall  flower.  ....  41 


INTRODUCTION 


New  York,  January  27,  1849. 

E.  Anthony,  Esq. 

Dear  Sir, — In  submiting  the  accompanying  “ History 
and  Practice  of  Photography  to  your  perusal,  and  for  your 
approbation,  I do  so  with  the  utmost  confidence  in  your  abi- 
lity as  a practical  man,  long  engaged  in  the  science  of  which 
it  treats,  as  well  as  your  knowledge  of  the  sciences  gener- 
ally, and  your  regard  for  candor.  To  you,  therefore,  1 
leave  the  decision  whether  or  no  I have  accomplished  my 
purpose, and  produced  a work  which  may  not  only  be  of  prac- 
tical benefit  to  the  Daguerrean  artist,  but  of  general  inte- 
rest to  the  reading  public,  and  your  decision  will  influence 
me  in  offering  it  for,  or  withholding  it  from,  publication. 

If  it  meets  your  approbation,  I would  most  respectfully 
ask  permission  to  dedicate  it  to  you,  subscribing  myself, 
With  esteem, 

Ever  truly  yours, 

Henry  H.  Snelling. 


* New  York,  February  1st,  1849. 

Mr.  H.  H.  Snelling. 

Dear  Sir — Your  note  of  January  27th,  requesting 
permission  to  dedicate  to  me  your  “History  and  Practice  of 
Photography,”  I esteem  a high  compliment,  particularly 
since  I have  read  the  manuscript  of  your  work. 

Such  a treatise  has  long  been  needed,  and  the  manner  in 


XI. 


which  you  have  handled  the  subject  will  make  the  book  as 
interesting  to  the  reading  public  as  it  is  valuable  to  the 
Daguerrean  artist,  or  the  amateur  dabbler  in  Photography. 
I have  read  nearly  all  of  the  many  works  upon  this  art  that 
have  emanated  from  the  London  and  Paris  presses,  and  I 
think  the  reader  will  find  in  yours  the  pith  of  them  all,  with 
much  practical  and  useful  information  that  1 do  not  remem. 
ber  to  have  seen  communicated  elsewhere. 

There  is  much  in  it  to  arouse  the  reflective  and  inventive 
faculties  of  our  Daguerreotypists.  They  have  heretofore 
stu  ;ibled  along  with  very  little  knowledge  of  the  true  theory 
of  their  art,  and  yet  the  quality  of  their  productions  is  far 
in  advance  of  those  of  the  French  and  English  artists,  most 
of  whose  establishments  I have  had  the  pleasure  of  visiting. 
I feel  therefore,  that  when  a sufficient  amount  of  theoretic 
know  edge  shall  have  been  added  to  this  practical  skill  on 
the  part  of  our  operators,  and  when  they  shall  have  been 
made  fully  acquainted  with  what  has  been  attained  or  at- 
tempted by  others,  a still  greater  advance  in  the  art  will  be 
manifested. 

A good  Daguerreotypist  is  by  no  means  a mere  machine 
following  a certain  set  of  fixed  rules.  Success  in  this  art 
requires  personal  skill  and  artistic  taste  to  a much  greater 
degree  than  the  unthinking  public  generally  imagine ; in 
fact  more  than  is  imagined  by  nine-tenths  of  the  Daguer- 
reotypists themselves.  And  we  see  as  a natural  result,  that 
while  the  business  numbers  its  thousands  of  votaries,  but 
few  rise  to  -ny  degree  of  eminence  It  is  because  they  look 
upon  their  business  as  a mere  mechanical  operation,  and 
having  no  aim  or  pride  beyond  the  earning  of  their  daily 
bread,  they  calculate  what  will  be  a fair  per  centage  on  the 
cost  of  their  plate,  case,  and  chemicals,  leaving  mind,  which 
is  as  much  capital  as  anything  else  (where  it  is  exercised,) 
entirely  out  of  the  question. 

The  art  of  taking  photographs  on  paper,  of  which  your 
work  treats  at  considerable  length,  has  as  yet  attracted  but 


little  attention  in  this  country,  though  destined,  as  I fully 
believe,  to  attain  an  importance  far  superior  to  that  to  which 
the  Daguerreotype  has  risen. 

The  American  mind  needs  a waking  up  upon  the  subject, 
and  I think  your  book  will  give  a powerful  impulse  in  this 
direction.  In  Germany  a high  degree  of  perfection  has  been 
reached,  and  I hope  our  countrymen  will  not  be  slow  to 
follow. 

Your  interesting  account  of  the  experiments  of  ' r.  Wat- 
tles was  entirely  new  to  me,  and  is  another  among  the  many 
evidences  that  when  the  age  is  fully  ripe  for  any  great  dis- 
covery, it  is  rare  that  it  does  not  occur  to  more  than  a sin- 
gle mind. 

Trusting  that  your  work  will  meet  with  the  encourage- 
ment which  your  trouble  in  preparing  it  deserves,  and  with 
gratitude  for  the  undeserved  compliment  paid  to  me  in  its 
dedication, 

I remain,  very  sincerely, 

Your  friend  and  well  wisher, 

E.  Anthony. 


PHOTOGRAPHY 


CHAP.  I. 


A BKxEF  HISTORY  OF  THE  ART. 

As  in  all  cases  of  great  and  valuable  inventions  in  sci- 
ence and  art  the  English  lay  claim  to  the  honor  of  having 
first  discovered  that  of  Photogenic  drawing.  But  we 
shall  see  in  the  progress  of  this  history,  that  like  many- 
other  assumptions  of  their  authors,  priority  in  this  is  no 
more  due  them,  then  the  invention  of  steamboats,  or  the 
cotton  gin. 

This  claim  is  founded  upon  the  fact  that  in  1802  Mr. 
Wedgwood  recorded  an  experiment  in  the  Journal  of  the 
Royal  Institution  of  the  following  nature. 

u A piece  of  paper,  or  other  convenient  material,  was 
placed  upon  a frame  and  sponged  over  with  a solution  of 
nitrate  of  silver  ; it  was  then  placed  behind  a painting 
on  glass  and  the  light  traversing  the  painting  produced  a 
kind  of  copy  upon  the  prepared  paper,  those  parts  in 
which  the  rays  w ere  least  intercepted  being  of  the  darkest 
hues.  Here,  however,  terminated  the  experiment ; for 
although  both  Mr.  Wedgwood  and  Sir  Plumphry  Davey 
experimented  carefully,  for  the  purpose  of  endeavoring 


4 


HISTORY  OF  THE  ART. 


to  fix  the  drawings  thus  obtained,  yet  the  object  could 
not  be  accomplished,  and  the  whole  ended  in  failure.” 

This,  by  their  own  showing,  was  the  earliest  attempt  of 
the  English  savans.  But  this  much  of  the  principle  was 
known  to  the  Alchemists  at  an  early  date — although 
practically  produced  in  another  way — as  the  following 
experiment,  to  be  found  in  old  books,  amply  proves. 

“ Dissolve  chalk  in  aquafortis  to  the  consistence  of 
milk,  and  add  to  it  a strong  solution  of  silver  ; keep  this 
liquor  in  a glass  bottle  well  stopped ; then  cutting  out 
from  a piece  of  paper  the  letters  you  would  have  appear, 
paste  it  on  the  decanter,  and  lay  it  in  the  sun’s  rays  in 
such  a manner  that  the  rays  may  pass  through  the  spaces 
cut  out  of  the  paper  and  fall  on  the  surface  of  the  liquor  ; 
the  part  of  the  glass  through  which  the  rays  pass  will  be 
turned  black,  while  that  under  the  paper  remains  white  ; 
but  particular  care  must  be  observed  that  the  bottle  be 
not  moved  during  the  operation.’’ 

Had  not  the  alchemists  been  so  intent  upon  the  desire 
to  discover  the  far  famed  philosopher’s  stone,  as  to  make 
them  unmindful  of  the  accidental  dawmings  of  more 
valuable  discoveries,  this  little  experiment  in  chemistry 
might  have  induced  them  to  prosecute  a more  thorough 
search  into  the  principle,  and  Photogenic  art  would  not 
now,  as  it  is,  be  a new  one. 

It  is  even  asserted  that  the  Jugglers  of  India  were  for 
many  ages  in  possession  of  a secret  by  which  they  were 
enabled,  in  a brief  space,  to  copy  the  likeness  of  any  in  - 
dividual  by  the  action  of  light.  This  fact,  if  fact  it  be, 
may  account  for  the  celebrated  magic  mirrors  said  to  be 
possessed  by  these  jugglers,  and  probable  cause  of  their 
power  over  the  people. 


HISTORY  OF  THE  ART. 


5 


However,  as  early  as  1556  the  fact  was  established 
that  a combination  of  chloride  and  silver,  called,  from  its 
appearance,  horn  silver,  was  blackened  by  the  sun’s  rays  ; 
and  in  the  latter  part  of  the  last  century  Mrs.  Fulhame 
published  an  experiment  by  which  a change  of  color 
was  effected  in  the  chloride  of  gold  by  the  agency  of 
light;  and  gave  it  as  her  opinion  that  words  might  be 
written  in  this  way.  These  incidents  are  considered  as 
the  first  steps  towards  the  discovery  of  the  Photogenic 
art. 

Mr.  Wedgwood’s  experiments  can  scarcely  be  said  to 
be  any  improvement  on  them  since  he  failed  to  bring 
them  to  practical  usefulness,  and  his  countrymen  will 
have  to  be  satisfied  with  awarding  the  honor  of  its  com- 
plete adaptation  to  practical  purposes,  to  MM.  Niepce 
and  Daguerre  of  France,  and  to  Professors  Draper,  and 
Morse  of  New-York. 

These  gentlemen — MM.  Niepce  and  Daguerre — pur- 
sued the  subject  simultaneously,  without  either,  however 
being  awrare  of  the  experiments  of  his  colleague  in  sei- 
♦ ence.  For  several  years,  each  pursued  his  researches 
individually  until  chance  made  them  acquainted,  when 
they  entered  into  co-partnership,  and  conjointly  brought 
the  art  almost  to  perfection. 

M.  Niepce  presented  his  first  paper  on  the  subject  to 
the  Royal  Society  in  1827,  naming  his  discovery  Heli- 
ography.  What  led  him  to  the  study'  of  the  principles  of 
the  art  I have  no  means,  at  present,  of  knowing,  but  it 
w as  probably  owing  to  the  facts  recorded  by  the  Alche- 
snists,  Mrs.  Fulhame  and  others,  already  mentioned.  But 
M.  Daguerre,  who  is  a celebrated  dioramic  painter,  being 
desirous  of  employing  some  of  the  singularly  changeable 
salts  of  silver  to  produce  a peculiar  class  of  effects  in  his 


6 


HISTORY  OF  THE  ART. 


paintings,  was  led  to  pursue  an  investigation  which  re- 
sulted in  the  discovery  of  the  Daguerreotype,  or  Photo- 
genic drawing  on  plates  of  copper  coated  with  silver. 

To  this  gentleman — to  his  liberality — are  we  Ameri- 
cans indebted  for  the  free  use  of  his  invention ; and  the 
large  and  increasing  class  of  Daguerrean  artists  of  this 
country  should  hold  him  in  the  most  profound  respect  for 
it.  He  was  not  willing  that  it  should  be  confined  to  a 
few  individuals  who  might  monopolise  the  benefits  to  be 
derived  from  its  practice,  and  shut  out  all  chance  of  im- 
provement. Like  a true,  noble  hearted  French  gentleman 
he  desired  that  his  invention  should  spread  freely  through- 
out the  whole  world.  With  these  views  he  opened  nego- 
ciations  with  the  French  government  which  were  conclu- 
ded most  favorably  to  both  the  inventors,  and  France  hag 
the  u glory  of  endowing  the  whole  world  of  science  and 
art  with  one  of  the  most  surprising  discoveries  that  honor 
the  land.” 

Notwithstanding  this,  it  has  been  patented  in  England 
and  the  result  is  what  might  have  been  expected:  En 
glish  pictures  are  far  below  the  standard  of  excellence  oJ 
those  taken  by  American  artists.  I have  seen  some  me- 
dium portraits,  for  which  a guinea  each  had  been  paid, 
and  taken  too,  by  a celebrated  artist,  that  our  poorest  Da- 
guerreotypists  would  be  ashamed  to  show  to  a second 
person,  much  less  suffer  to  leave  their  rooms. 

Calotype,  the  name  given  to  one  of  the  methods  of 
Photogenic  drawing  on  paper,  discovered,  and  perfected 
by  Mr.  Fox  Talbot  of  England,  is  precisely  in  the  same 
predicament,  not  only  in  that  country  but  in  the  United 
States,  Mr.  Talbot  being  patentee  in  both.  He  is  a man 
of  some  wealth,  I believe,  but  he  demands  so  high  a price 


HISTORY  OF  THE  ART. 


7 


for  a single  right  in  this  country,  that  none  can  be  found 
who  have  the  temerity  to  purchase. 

The  execution  of  his  pictures  is  also  infeiior  to  those 
taken  by  the  German  artists,  and  I would  remark  en pas- 
sant, that  the  Messrs.  Mead  exhibited  at  the  last  fair  of 
the  American  Institute,  (of  1848,)  four  Calotypes,  wThich 
one  of  the  firm  brought  from  Germany  last  Spring,  that 
for  beauty,  depth  of  tone  and  excellence  of  execution  sur- 
pass the  finest  steel  engraving. 

When  Mr.  Talbot’s  patent  for  the  United  States  ex- 
pires and  our  ingenious  Yankee  boys  have  the  opportu- 
nity, I have  not  the  slightest  doubt  of  the  Calotype,  in 
their  hands,  entirely  superceding  the  Daguerreotype. 

Let  them,  therefore,  study  the  principles  of  the  art  as 
laid  down  in  this  little  work,  experiment,  practice  and 
perfect  themselves  in  it,  and  when  that  time  does  arrive 
be  prepared  to  produce  that  degree  of  excellence  in  Calo- 
type they  have  already  obtained  in  Daguerreotype. 

It  is  to  Professor  Samuel  F.  B.  Morse,  the  distinguish- 
ed inventor  of  the  Magnetic  Telegraph,  of  New  York, 
that  we  are  indebted  for  the  application  of  Photography, 
to  portrait  taking.  He  was  in  Paris,  for  the  purpose  of 
presenting  to  the  scientific  world  his  Electro-Magnetic 
Telegraph,  at  the  time,  (1838,)  M.  Daguerre  announced 
his  splendid  discovery,  and  its  astounding  results  having 
an  important  bearing  on  the  arts  of  design  arrested  his 
attention.  In  his  letter  to  me  on  the  subject,  the  Profes- 
sor gives  the  following  interesting  facts. 

“ The  process  was  a secret,  and  negociations  were  then 
in  progress,  for  the  disclosure  of  it  to  the  public  between 
the  French  government  and  the  distinguished  discoverer. 
M.  Daguerre  had  shown  his  results  to  the  king,  and  to  a 
few  only  of  the  distinguished  savans,  and  by  the  advice 


8 


HISTORY  OF  THE  ART. 


of  M.  Arago,  had  determined  to  wait  the  action  of  the 
French  Chambers,  before  showing  them  to  any  other  per- 
sons. I was  exceedingly  desirous  of  seeing  them,  but 
knew  not  how  to  approach  M.  Daguerre  who  was  a 
stranger  to.  me.  On  mentioning  my  desire  to  Robert 
Walsh,  Esq.,  our  worthy  Consul,  he  said  to  me  ; ‘state 
that  you  are  an  American,  the  inventor  of  the  Telegraph, 
request  to  see  them,  and  invite  him  in  turn  to  see  the  Te- 
legraph, and  I know  enough  of  the  urbanity  and  liberal 
feelings  of  the  French,  to  insure  you  an  invitation.’  I 
was  successfull  in  my  application,  and  with  a young 
friend,  since  deceased,  the  promising  son  of  Edward  De- 
le van,  Esq.,  I passed  a most  delightful  hour  with  M.  Da- 
guerre, and  his  enchanting  sun-pictures.  My  letter  con- 
taining an  account  of  this  visit,  and  these  pictures,  was 
the  hist  announcement  in  this  country  of  this  splendid 
discovery.” 

“ I may  here  add  the  singular  sequel  to  this  visit.  On 
the  succeeding  day  M.  Daguerre  paid  me  a visit  to  see 
the  Telegraph  and  witness  its  operations.  He  seemed 
much  gratified  and  remained  with  me  perhaps  two  hours  ; 
two  melancholy  hours  to  him,  as  they  afterwards  proved  ; 
for  while  he  was  with  me,  his  buildings,  including  his 
diorama,  his  studio,  his  laboratory,  with  all  the  beauti- 
ful pictures  I had  seen  the  day  before,  were  consumed 
by  fire.  Fortunately  for  mankind,  matter  only  was  con- 
sumed, the  soul  and  mind  of  the  genius,  and  the  process 
were  still  in  existence.” 

On  his  return  home,  Professor  Morse  waited  with  im- 
patience for  the  revelation  of  M.  Daguerre’s  process, 
and  no  sooner  was  it  published  than  he  procured  a copy 
of  the  work  containing  it,  and  at  once  commenced  taking 
Daguerreotype  pictures.  At  first  his  object  was  solely 


HISTORY  OF  THE  ART. 


9 


to  furnish  his  studio  with  studies  from  nature ; but  his 
experiments  led  him  into  a belief  of  the  practicability  of 
procuring  portraits  by  the  process,  and  he  was  undoubted- 
ly the  first  whose  attempts  were  attended  with  success 
Thinking,  at  that  time,  that  it  was  necessary  to  place 
the  sitters  in  a very  strong  light,  they  were  all  taken  with 
their  eyes  closed. 

Others  were  experimenting  at  the  same  time,  among 
them  Mr.  Wolcott  and  Prof.  Draper,  and  Mr.  Morse, 
with  his  acustomed  modesty,  thinks  that  it  would  be  dif- 
ficult to  say  to  whom  is  due  the  credit  of  the  first  Da- 
guerreotype portrait.  At  all  events,  so  far  as  my  know- 
ledge serves  me,  Professor  Morse  deserves  the  laurel 
wreath,  as  from  him  originated  the  first  of  our  inumer- 
able  class  of  Daguerreotypists ; and  many  of  his  pupils 
have  carried  the  manipulation  to  very  great  perfection.  In 
connection  with  this  matter  I will  give  the  concluding 
paragraph  of  a private  letter  from  the  Professor  to  me; 
He  says. 

u If  mine  were  the  first,  other  experimenters  soon  made 
better  results,  and  if  there  are  any  who  dispute  that  I 
was  first,  I shall  have  no  argument  with  them  ; for  I was 
not  so  anxious  to  be  the  first  to  produce  the  result,  as  to 
produce  it  in  any  way.  I esteem  it  but  the  natural  carry- 
ing out  of  the  wonderful  discovery,  and  that  the  credit 
was  after  all  due  to  Daguerre.  I lay  no  claim  to  any  im- 
provements. ” 

Since  I commenced  the  compilation  of  this  work,  I 
have  had  the  pleasure  of  making  the  acquaintance  of  an 
American  gentleman — James  M.  Wattles  Esq. — who  as 
early  as!828 — and  it  will  be  seen,  by  what  I have  already 
stated,  that  this  is  about  the  same  date  of  M.  Niepce’s 


10 


HISTORY  OF  THE  ART 


discovery — had  his  attention  attracted  to  the  subject  of 
Photography,  or  as  he  termed  it  “ Solar  picture  draw- 
ing,5’ while  taking  landscape  views  by  means  of  the  ca- 
mera-obscura.  When  we  reflect  upon  all  the  circum- 
stances connected  with  his  experiments  the  great  disad- 
vantages under  which  he  labored,  and  his  extreme  youth- 
fullness,  we  cannot  but  feel  a national  pride — yet  wonder 
— that  a mere  yankee  boy,  surrounded  by  the  deepest  for- 
ests, hundred  of  miles  from  the  populous  portion  of  our 
country,  without  the  necessary  materials,  or  resources  for 
procuring  them,  should  by  the  force  of  his  natural  genius 
make  a discovery,  and  put  it  in  practical  use,  to  accom- 
plish which,  the  most  learned  philosophers  of  Europe, 
with  every  requisite  apparatus,  and  a profound  knowledge 
of  chemistry — spent  years  of  toil  to  accomplish.  How 
much  more  latent  talent  may  now  be  slumbering  from  the 
very  same  cause  which  kept  Mr.  Wattles  from  publicly 
revealing  his  discoveries,  viz  ; want  of  encouragement- 
ridicule  ! 

At  the  time  when  the  idea  of  taking  pictures  perma- 
nently on  paper  by  means  of  the  camera-obscura  first  OC' 
curred  to  him,  he  was  but  sixteen  years  of  age,  and  under 
the  instructions  of  Mr.  Charles  Le  Seuer,  (a  talented  ar- 
tist from  Paris)  at  the  New  Harmony  school,  Indiana 
Drawing  and  painting  being  the  natural  bent  of  his  mind, 
he  was  frequently  employed  by  the  professors  to  make 
landscape  sketches  in  the  manner  mentioned.  The  beau- 
ty of  the  image  of  these  landscapes  produced  on  the  paper 
in  the  camera-obscura,  caused  him  to  pause  and  admire 
them  with  all  the  ardor  of  a young  artist,  and  wish  that 
by  some  means,  he  could  fix  them  there  in  all  their  beau- 
ty. From  wishing  he  brought  himself  to  think  that  it 
was  not  only  possible  but  actually  capable  of  accomplish- 


HISTORY  OF  THE  ART. 


11 


ment,  and  from  thinking  it  could,  he  resolved  it  should  be 
done. 

He  was,  however,  wholly  ignorant  of  even  the  first 
principles  of  chemistry,  and  natural  philosophy,  and  all 
the  knowledge  he  was  enabled  to  obtain  from  his  teachers 
was  of  very  little  service  to  him.  To  add  to  this,  when- 
ever he  mentioned  his  hopes  to  his  parents,  they  laughed 
at  him,  and  bade  him  attend  to  his  studies  and  let  such 
moonshine  thoughts  alone — still  he  persevered,  though 
secretly,  and  he  met  with  the  succes  his  peseveranc-e  de- 
served. 

For  the  truth  of  his  statement,  Mr.  Wattles  refers  to 
some  of  our  most  respectable  citizens  residing  at  the  west, 
and  I am  in  hopes  that  I shall  be  enabled  to  receive  in 
time  for  this  publication,  a confirmation  from  one  or 
more  of  these  gentlemen.  Be  that  as  it  may,  I fee]  con- 
fident in  the  integrity  of  Mr.  Wattles,  and  can  give  his 
statement  to  the  world  without  a doubt  of  its  truth. 

The  following  sketch  of  his  experiments  and  their  re- 
sults will,  undoubtedly,  be  interesting  to  every  American 
reader  and  although  some  of  the  profound  philosophers  of 
Europe  may  smile  at  his  method  of  proceeding,  it  will  in 
some  measure  show  the  innate  genius  of  American  minds, 
and  prove  that  we  are  not  far  behind  our  trans-atlantic 
brethren  in  the  arts  and  sciences. 

Mr.  Wattles  says  : “ In  my  first  efforts  to  effect  the  de- 
sired object,  they  were  feeble  indeed,  and  owing  to  my 
limited  knowledge  of  chemistry — wholly  acquired  by 
questioning  my  teachers — I met  with  repeated  failures  • 
but  following  them  up  with  a determined  spirit,  I at  last 
produced,  what  I thought  very  fair  samples — but  to  pro- 
ceed to  my  experiments. ’’ 

u I .first  dipped  a quarter  sheet  of  thin  white  writing 


12 


HISTORY  OF  THE  ART. 


paper  in  a weak  solution  of  caustic  (as  I then  called  it) 
and  dried  it  in  an  empty  box,  to  keep  it  in  the  dark  ; 
when  dry,  I placed  it  in  the  camera  and  watched  it  with 
great  patience  for  nearly  half  an  hour,  without  produc- 
ing any  visible  result ; evidently  from  the  solution  being 
to  weak.  I then  soaked  the  same  piece  of  paper  in  a solu- 
tion of  common  potash,  and  then  again  in  caustic  water 
a little  stronger  than  the  first,  and  when  dry  placed  it  in 
the  camera.  In  about  forty-five  minutes  I plainly  perciev- 
ed  the  effect,  in  the  gradual  darkening  of  various  parts  of 
the  view,  which  was  the  old  stone  fort  in  the  rear  of  the 
school  garden,  with  the  trees,  fence,  &c.  I then  became 
convinced  of  the  practicability  of  producing  beautiful  solar 
pictures  in  this  way ; but,  alas  ! my  picture  vanished  and 
with  it,  all — no  not  all — my  hopes.  With  renewed  deter- 
mination I began  again  by  studying  the  nature  of  the 
preparation,  and  came  to  the  conclusion,  that  if  I could 
destroy  the  part  not  acted  upon  by  the  light  without  in 
juring  that  which  was  so  acted  upon,  I could  save  my 
pictures.  I then  made  a strong  solution  of  sal.  soda  I 
had  in  the  house,  and  soaked  my  paper  in  it,  and  then 
washed  it  off  in  hot  water,  which  perfectly  fixed  the  view 
upon  the  paper.  This  paper  was  very  poor  with  thick 
spots,  more  absorbent  than  other  parts,  and  consequently 
made  dark  shades  in  the  picture  where  they  should  not 
have  oeen  ; but  it  was  enough  to  convince  me  that  I 
had  succeeded,  and  that  at  some  future  time,  when  I had 
the  means  and  a more  extensive  knowledge  of  chemistry, 
I could  apply  myself  to  it  again.  I have  done  so  since,  at 
various  times,  with  perfect  success  ; but  in  every  instance 
laboring  under  adverse  circumstances.” 

I have  very  recently  learned,  that,  under  the  present 
patent  laws  of  the  United  States,  every  foreign  patentee 


HISTORY  OF  THE  ART. 


13 


is  required  to  put  his  invention,  or  discovery,  into  prac- 
tical use  within  eighteen  months  after  taking  out  his 
papers,  or  otherwise  forfeit  his  patent.  With  regard  to 
Mr.  Talbot’s  Calotype  patent,  this  time  has  nearly,  if  not 
quite  expired,  and  my  countrymen  are  now  at  perfect  li- 
berty to  appropriate  the  art  if  they  feel  disposed.  From 
the  statement  of  Mr.  Wattles,  it  will  be  perceived  that 
this  can  be  done  without  dishonor,  as  in  the  first  instance 
Mr.  Talbot  had  no  positive  right  to  his  patent 

Photography ; or  sun-painting  is  divided,  according  to 
the  methods  adopted  for  producing  pictures,  into 

DAGUERREOTYPE,  CHROMATYPE, 

CALOTYPE,  ENERGIATYPE, 

CHRYSOTYPE,  ANTHOTYPE  and 

CYANOTYPE,  AMPHITYPE. 


CHAP.  II. 


THE  THEORY  ON  LIGHT. THE  PHOTOGRAPHIC  PRINCIPLE 

Some  philosophers  contend  that  to  the  existence  of 
light  alone  we  owe  the  beautiful  effects  produced  by  the 
Photogenic  art,  while  others  give  sufficient  reasons  for 
doubting  the  correctness  of  the  assumption.  That  the 
results  are  effected  by  a principle  associated  with  light 
and  not  by  the  luminous  principle  itself,  is  the  most  proba- 
ble conclusion.  The  importance  of  a knowledge  of  this 
fact  becomes  most  essential  in  practice,  as  will  presently 
be  seen.  To  this  principle  Mr.  Hunt  gives  the  name  of 
Energia. 

The  Nature  of  Light  is  not  wholly  known,  but  it  is 
generally  believed  to  be  matter,  as  in  its  motions  it  obeys 
the  laws  regulating  matter.  So  closely  is  it  connected 
with  heat  and  electricity  that  there  can  be  little  doubt 
of  their  all  being  but  different  modifications  of  the  same 
substance.  I will  not,  however,  enter  into  a statement 
of  the  various  theories  of  Philosophers  on  this  head,  but 
content  myself  with  that  of  Sir  Isaac  Newton  ; who  sup- 
posed rays  of  light  to  consist  of  minute  particles  of  mat- 
ter, which  are  constantly  emanating  from  luminous  bodies 
and  cause  vision,  as  odoriferous  particles,  proceeding 
from  certain  bodies,  cause  smelling. 


16 


LIGHT. 


The  effects  of  light  upon  other  bodies , and  how  light  is 
effected  by  them,  involve  some  of  the  most  important  prin- 
ciples, which  if  properly  understood  by  Daguerreotypists 
would  enable  them  to  improve  and  correct  many  of  the 
practical  operations  in  their  art.  These  effects  we  shall  ex- 
hibit in  this  and  the  following  chapters.  Before  we  enter 
on  this  subject  it  will  be  necessary  to  become  familiar 
with  the 

Definitions  of  some  of  the  terms  used  in  the  science 
of  optics. 

Luminous  bodies  are  of  two  kinds ; those  which  shine 
by  their  own  light,  and  those  which  shine  by  reflected 
light. 

Transparent  bodies  are  such  as  permit  rays  of  light  to 
pass  through  them. 

Translucent  bodies  permit  light  to  pass  faintly,  but 
without  representing  the  figure  of  an  object  seen  through 
them. 

Opaque  bodies  permit  no  light  to  pass  through  them, 
but  reflect  light. 

A ray  is  a line  of  light. 

A beam  is  a collection  of  parallel  rays. 

A pencil  is  a collection  of  converging,  or  diverging  rays. 

A medium  is  any  space  through  which  light  passes. 

Incident  rays  are  those  which  fall  upon  the  surface  of 
a body. 

Reflected  rays  are  those  which  are  thrown  off  from  a 
body. 

Parallel  rays  are  such  as  proceed  equally  distant  from 
each  other  through  their  whole  course. 

Converging  rays  are  such  as  approach  and  tend  to 
unite  at  any  one  point,  as  at  b fig.  3. 


LIGHT. 


17 


Diverging  rays  are  those  which  continue  to  recede 
from  each  other,  as  at  e.  Fig.  3. 

A Focus  is  that  point  at  which  converging  rays  meet. 

Motion  of  Light — -Rays  of  light  are  thrown  off  from 
luminous  bodies  in  every  direction,  but  always  in  straight 
lines,  which  cross  each  other  at  every  point ; but  the  par- 
ticles of  which  each  ray  consists  are  so  minute  that  the 
rays  do  not  appear  to  be  impeded  by  each  other.  A ray 
of  light  passing  through  an  aperture  into  a dark  room, 
proceeds  in  a straight  line  ; a fact  of  which  any  one  may 
be  convinced  by  going  into  a darkened  room  and  admiting 
light  only  through  a small  aperture. 

Light  also  mo^es  with  great  velocity,  but  becomes 
fainter  as  it  recedes  from  the  source  from  which  it  emi- 
nates  ; in  other  words,  diverging  rays  of  light  diminish 
in  intensity  as  the  square  of  the  distance  increases.  For 
instance;  let  a fig.  1,  represent  the  luminous  body  from 


which  light  proceeds,  and  suppose  three  square  boards, 
b.  c.  d.  severally  one,  four  and  sixteen  square  inches  in 
size  be  placed ; b one  foot,  c two  feet,  and  d four  feet 
from  a,  it  will  be  perceived  that  the  smallest  board  b will 
throw  c into  shadow  ; that  is,  obstruct  all  rays  of  light 
that  would  otherwise  fall  on  c,  and  if  b were  removed  c 
would  in  like  manner  hide  the  light  from  d — Now,  if  b 
recieve  as  much  light  as  would  fall  on  c whose  surface  is 
four  times  as  large,  the  light  must  be  four  times  as  pow- 


Fig.  1. 


18 


LIGHT. 


erful,  and  sixteen  times  as  powerful  as  that  which  would 
fall  on  the  second  and  third  boards,  because  the  same 
quantity  of  light  is  diffused  over  a space  four  and  sixteen 
times  greater.  These  same  rays  may  be  collected  and 
their  intensity  again  increased. 

Rays  of  light  are  reflected  from  one  surface  to  another  ; 
Refracted , or  bent,  as  they  pass  from  the  surface  of  one 
transparent  medium  to  another  ; and  Inflected , or  turned 
from  their  course,  by  the  attraction  of  opaque  bodies. 
From  the  first  we  derive  the  principles  on  which  mirrors 
are  constructed  ; to  the  second  we  are  indebted  for  the 
power  of  the  lenses , and  the  blessings  of  sight, — for  the  light 
acts  upon  the  retina  of  the  eye  in  the  same  manner  as  on 
the  lens  of  a camera.  The  latter  has  no  important  bearing 
upon  our  subject. 

When  a ray  of  light  falls  perpendicularly  upon  an 
opaque  body,  it  is  reflected  back  in  the  same  line  in 
which  it  proceeds  ; in  this  case  the  reflected  ray  returns 
in  the  same  path  the  incident  ray  traversed  ; but  when  a 
ray  falls  obliquely,  it  is  reflected  obliquely,  that  is,  it  is 
thrown  off  in  an  opposite  direction,  and  as  far  from  the 
perpendicular  as  was  the  incident  ray,  as  shown  at  Fig.  2 ; 
a representing  the  incident  ray  and  b the  reflected. 
The  point,  or  angle  c made  by  Fig.  2. 

the  incident  ray,  at  the  surface 
of  the  reflector  e /,  with  a line 
c d , perpendicular  to  that  sur- 
face, is  called  the  angle  of  in- 
cidence , wdiile  the  angle  form- 
ed by  the  reflected  ray  b and 
the  perpendicular  line  d is 
called  the  angle  of  reflection , and  these  angles  are  always 
equal. 


LIGHT. 


19 


It  is  by  this  reflection  of  light  that  objects  are  made  vi- 
sible ; but  unless  light  falls  directly  upon  the  eye  they  are 
invisible,  and  are  not  sensibly  felt  until  after  a certain 
series  of  operations  upon  the  various  coverings  and  humors 
of  the  eye.  Smooth  and  polished  surfaces  reflect  light  most 
powerfully,  and  send  to  the  eye  the  images  of  the  objects 
from  which  the  light  proceeded  before  reflection.  Glass, 
which  is  transparent — transmitting  light — would  be  of  no 
use  to  us  as  a mirror,  were  it  not  first  coated  on  one  side 
with  a metalic  amalgam,  which  interrupts  the  rays  in 
their  passage  from  the  glass  into  the  air,  and  throws  them 
either  directly  in  the  incident  line,  or  in  an  oblique  di- 
rection. The  reason  why  trees,  rocks  and  animals  are  not 
all  mirrors,  reflecting  other  forms  instead  of  their  own,  is, 
that  their  surfaces  are  uneven,  and  rays  of  light  reflected 
from  an  uneven  surface  are  diffused  in  all  directions. 

Parallel  rays  falling  obliquely  upon  a plane  mirror  are 
reflected  parallel ; converging  rays,  with  the  same  degree 
ot  convergence  ; and  diverging  rays  equally  divergent. 

^Stand  before  a mirror  and  your  image  is  formed  therein, 
and  appears  to  be  as  far  behind  the  glass  as  you  are  be- 
fore it,  making  the  angle  of  reflection  equal  to  that  of  in- 
cidence, as  before  stated.  The  incident  ray  and  the  re- 
flected ray  form,  together,  what  is  called  the  passage  of 
reflection,  and  this  will  therefore  make  the  actual  distance 
of  an  image  to  appear  as  far  again  from  the  eye  as  it 
really  is.  Any  object  which  reflects  light  is  called  a 
radiant.  The  point  behind  a reflecting  surface,  from 
which  they  appear  to  diverge,  is  called  the  virtual  focus. 

Rays  of  light  being  reflected  at  the  same  angle  at 
which  they  fall  upon  a mirror,  two  persons  can  stand  in 
such  a position  that  each  can  see  the  image  of  the  other 
without  seeing  his  own.  Again  ; you  may  see  yoro* 


20 


LIGHT. 


whole  figure  in  a mirror  half  your  length,  but  if  you 
stand  before  one  a few  inches  shorter  the  whole  cannot  be 
reflected,  as  the  incident  ray  which  passes  from  your  feet 
into  the  mirror  in  the  former  case,  will  in  the  latter  fall 
under  it.  Images  are  always  reversed  in  mirrors. 

Convex  mirrors  reflect  light  from  a rounded  surface 
and  disperse  the  rays  in  every  direction,  causing  parallel 
rays  to  diverge,  diverging  rays  to  diverge  more,  and  con- 
verging rays  to  converge  less — They  represent  objects 
smaller  than  they  really  are — because  the  angle  formed  by 
the  reflected  ray  is  rendered  more  acute  by  a convex  than 
by  a plane  surface,  and  it  is  the  diminishing  of  the  vis- 
ual angle,  by  causing  rays  of  light  to  be  farther  extended 
before  they  meet  in  a point,  which  produces  the  image  of 
convex  mirrors.  The  greater  the  convexity  of  a mirror, 
the  more  will  the  images  of  the  objects  be  diminished, 
and  the  nearer  will  they  appear  to  the  surface.  These 
mirrors  furnish  science  with  many  curious  and  pleasing 
facts. 

Concave  mirrors  are  the  reverse  of  convex  ; the  latter 
being  rounded  outwards,  the  former  hollowed  inwards — 
they  render  rays  of  light  more  converging — collect  rays 
instead  of  dispersing  them,  and  magnify  objects  wThile  the 
convex  diminishes  them. 

Rays  of  light  may  be  collected  in  the  focus  of  a mirror 
to  such  intensity  as  to  melt  metals.  The  ordinary  burning 
glass  is  an  illustration  of  this  fact ; although  the  rays  of 
light  are  refracted,  or  passed  through  the  glass  and  con* 
centrated  into  a focus  beneath. 

When  incident  raj^s  are  parallel,  the  reflected  rays  con- 
verge to  a focus,  but  w'hen  the  incident  rays  proceed  from 
a focus,  or  are  divergent,  they  are  reflected  parallel.  It  is 
only  when  an  object  is  nearer  to  a concave  mirror  than  its 


LIGHT. 


21 


centre  of  concavity,  that  its  image  is  magnified  ; for  when 
the  object  is  farther  from  the  mirror,  this  centre  will  ap- 
pear less  than  the  object,  and  in  an  inverted  position. 

The  centre  of  concavity  in  a concave  mirror,  is  an  im- 
aginary point  placed  in  the  centre  of  a circle  formed  by 
continuing  the  boundaiy  of  the  concavity  of  the  mirror 
from  any  one  point  of  the  edge  to  another  parallel  to  and 
beneath  it. 

Refraction  of  light:—  I now  pass  to  the  consider- 
ation of  the  passage  of  light  through  bodies. 

A ray  of  light  falling  perpendicularly  through  the  air 
upon  a surface  of  glass  or  water  passes  on  in  a straight 
line  through  the  body ; but  if  it,  in  passing  from  one 
medium  to  another  of  different  density,  fall  obliquely,  it  is 
bent  from  its  direct  course  and  recedes  from  it,  either  to- 
wards the  right  or  left,  and  this  bending  is  called  refraction; 
(see  jig.  3,  b.)  If  a ray  of  light  passes  from  a rarer  into  a 
denser  medium  it  is  refracted  towards  a perpendicular  in 
that  medium  ; but  if  it  passes  from  a denser  into  rarer  it  is 
bent  further  from  a perpendicular  in  that  medium.  Owing 
to  this  bending  of  the  rays  of  light  the  angles  of  refraction 
and  incidence  are  never  equal. 

Transparent  bodies  differ  in  their  power  of  bending 
light — as  a general  rule,  the  refractive  power  is  propor- 
tioned to  the  density — but  the  chemical  constitution  of 
bodies  as  well  as  their  density,  is  found  to  effect  their  re- 
fracting power.  Inflamable  bodies  possess  this  power 
to  a great  degree. 

The  sines  of  the  angle  of  incidence  and  refraction  (that 
is,  the  perpendicular  difciwn  from  the  extremity  of  an  arc 
to  the  diameter  of  a circle,)  are  always  in  the  same  ratio  ; 
viz  : from  air  into  water,  the  sine  of  the  angle  of  refrac- 
tion is  nearly  as  four  to  three,  whatever  be  the  position  ot 


22 


LIGHT. 


the  ray  with  respect  to  the  refracting  surface.  From  air 
into  sulphur,  the  sine  of  the  angle  of  refraction  is  as  two 
to  one — therefore  the  rays  of  light  cannot  be  refracted 
whenever  the  sine  of  the  angle  of  refraction  becomes  equal 
to  the  radius  * of  a circle,  and  light  falling  very  obliquely 
upon  a transparent  medium  ‘ceases  to  be  refracted ; this 
is  termed  total  reflection. 

Since  the  brightness  of  a reflected  image  depends  upon 
the  quantity  of  light,  it  is  quite  evident  that  those  images 
which  arise  from  total  reflection  are  by  far  the  most  vivid, 
as  in  ordinary  cases  of  reflection  a portion  of  light  is  ab- 
sorbed. 

I should  be  pleased  to  enter  more  fully  into  this  branch 
of  the  science  of  optics,  but  the  bounds  to  which  I am 
necessarily  limited  in  a work  of  this  kind  will  not  admit 
of  it.  In  the  next  chapter,  however,  I shall  give  a sy- 
nopsis of  Mr.  Hunt’s  treatise  on  thea  Influence  of  the  So- 
lar Rays  on  Compound  Bodies,  wish  especial  reference  to 
their  Photographic  application” — A work  which  should 
be  in  the  hands  of  every  Daguerreotypist,  and  which  I 
hope  soon  to  see  republished  in  this  country.  I will  con- 
clude this  chapter  with  a brief  statement  of  the  principles 
upon  which  the  Photographic  art  is  founded. 

Solar  and  Steller  light  contains  three  kinds  of  rays, 
viz : 

1.  Colorific , or  rays  of  color, 

2.  Calorific,  or  rays  of  heat. 

3.  Chemical  rays,  or  those  which  produce  chemical 
effects. 

On  the  first  and  third  the  photographic  principle  de- 
pends. In  explaining  this  principle  the  accompanying 
wood  cuts,  (figs.  3 and  4)  will  render  it  more  intelligible. 

* The  radius  of  a circle  is  a straight  line  passing  from  the  centre  to  the 
circumference. 


LIGHT. 


23 


If  a pencil  of  the  sun’s  rays  fall  upon  a prism,  it  is  bent 
in  passing  through  the  transparent  medium  ; and  some 
rays  being  more  refracted  than  others,  we  procure  an 
elongated  image  of  the  luminous  beam,  exhibiting  three 
distinct  colors,  red,  yellow  and  blue,  which  are  to  be  re- 
garded as  primitives — and  from  their  interblending,  seven, 
as  recorded  by  Newton,  and  shown  in  the  accompanying 
wood  cut.  These  rays  being  absorbed,  or  reflected  dif- 
ferently by  various  bodies,  give  to  nature  the  charm  of 
color.  Thus  to  the  eye  is  given  the  pleasure  we  derive 
in  looking  upon  the  green  fields  and  forests,  the  enumera- 
ble varieties  of  flowers,  the  glowing  ruby,  jasper,  topaz, 
amethist,  and  emerald,  the  brilliant  diamond,  and  all  the 
rich  and  varied  hues  of  nature,  both  animate  and  inani- 
mate. 

Fig.  3. 


Now,  if  we  allow  this  prismatic  spectrum  (b.  fiq.  3.) 
to  fall  upon  any  surface  (as  at  c.)  prepared  with  a sen- 
sitive photographic  compound,  we  shall  find  that  the 
chemical  effect  produced  bears  no  relation  to  the  intensity 
of  the  light  of  any  particular  colored  ray,  but  that,  on  the 


24 


LIGHT. 


contrary,  it  is  dispersed  over  the  largest  portion  of  the 
spectrum,  being  most  energetic  in  the  least  luminous 
rays,  and  ever  active  over  an  extensive  space,  where  no 
traces  of  light  can  be  detected.  Fig.  4,  will  give  the 
student  a better  idea  of  this  principle.  It  is  a copy  of 
the  kind  of  impression  which  the  spectrum,  spoken  of, 
would  make  on  a piece  of  paper  covered  with  a very 
sensitive  photographic  preparation.  The  white  space  a. 
corresponds  with  the  most  luminous,  or  yellow  ray, 
(5,  fig.  3)  over  the  limits  of  which  all  chemical  change  is 
prevented.  A similar  ac-  pIG#  4 

tion  is  also  produced  by 
the  lower  end  of  the  red 
ray  c ; but  in  the  upper 
portion,  however  we  find 
a decided  change  (as  at  d). 

The  most  active  chemical 
change,  you  will  percieve, 
is  produced  by  the  rays  a- 
bove  the  yellow  a ; viz. 

4,  3,2  and  1 (as  at  b)  the 
green  (4)  being  the  least 
active,  and  the  blue  (3) 
and  violet  (1)  rays  the 
most  so,  the  action  still 
continuing  far  beyond  the 
point  b which  is  the  end 
of  the  luminous  image. 

Suppose  we  wish  to  copy 
by  the  Daguerreotype,  or 
Calotype  process,  any  objects  highly  colored — blue,  red 
and  yellow,  for  instance  predominating — the  last  of  course 
reflects  the  most  light,  the  blue  the  least ; but  the  rays 


LIGHT. 


from  the  blue  surface  will  make  the  most  intense  impres- 
sion, whilst  the  red  radiations  aie  working  very  slowly, 
and  the  yellow  remains  entirely  inactive.  This  accounts 
for  the  difficulty  experienced  in  copying  bright  green 
foliage,  or  warmly  colored  portraits  ; a large  portion  of 
the  yellow  and  red  rays  entering  into  the  composition  of 
both — and  the  imperfections  in  a Daguerreotype  portrait 
of  a person  with  a freckled  face  depends  upon  the  same 
cause  — ( See  note  to  2 d Ed,.,  p.  28.) 

A yellow,  hazy  atmosphere,  even  when  the  light  is 
very  bright,  will  effectually  prevent  any  good  photogra- 
phic result — and  in  the  height  of  summer,  with  the  most 
sensative  process,  it  not  unfrequently  happens  that  the 
most  annoying  failures  arise  from  this  agency  of  a yellow 
medium.  A building  painted  of  a yellow  color,  which 
may  reflect  the  sun’s  rays  directly  into  the  operator’s 
room  will  have  the  same  effect.  Daguerreotypists,  being 
ignorant  of  these  facts,  are  very  apt  to  charge  their  want 
of  success  to  the  plates,  or  chemicals,  or  any  thing  but 
the  real  cause ; and  it  would  be  well  to  bear  these  facts 
constantly  in  mind  and  as  far  as  possible  avoid  them. 
This,  may  be  accomplished,  in  a measure,  by  a choice  of 
location  or  by  having  the  glass  of  your  windows  tinged 
with  blue  ; or  a screen  of  thin  blue  paper  may  be  inter- 
posed between  the  light  and  sitter.  In  selecting  subjects, 
all  striking  contrasts  in  color  should  be  avoided,  and  sit- 
ters for  portraits  should  be  cautioned  not  to  wear  any- 
thing that  may  produce  the  effect  spoken  of— dark  dresses 
always  being  the  best. 

The  action  of  light  both  combines  and  decomposes 
bodies.  For  instance,  chlorine  and  hydrogen  will  re- 
main in  a glass  vessel  without  alteration  if  kept  in  the 
dark  ; but  if  exposed  to  the  rays  of  the  sun,  they  irame- 


26 


LIGHT. 


diately  enter  into  combination,  and  produce  hydrochloric 
acid.  On  the  other  hand,  if  colorless  nitric  acid  be  exposed 
to  the  sun,  it  becomes  yellow,  then  changes  to  red,  and 
oxygen  is  liberated  by  the  partial  decomposition  effected 
by  the  solar  rays. 

Of  the  organic  substances  none  are  more  readily  acted 
upon  by  light  than  the  various  combinations  of  silver. 

Of  these  some  are  more,  and  others  less  sensitive.  If 
Chloride  of  silver,  which  is  a white  precipitate  formed  by 
adding  chloride  of  sodium  (common  salt)  to  a solution  of 
nitrate  of  silver,  be  exposed  to  diffused  light,  it  speedily 
assumes  a violet  tint,  and  ultimately  becomes  nearly  black. 
With  iodide  of  silver,  bromide  of  silver,  ammonio-nitrate 
of  silver,  and  other  salts  of  this  metal,  the  result  will  be 
much  the  same. 

Some  bodies,  which  under  the  influence  of  light,  un- 
dergo chemical  changes,  have  the  power  of  restoring 
themselves  to  their  original  condition  in  the  dark.  This  is 
more  remarkably  displayed  in  the  iodide  of  platinum, 
which  readily  recieves  a photogenic  image  by  darkening 
over  the  exposed  surfaces,  but  speedily  loses  it  by  bleach- 
ing in  the  dark.  The  ioduret  of  Daguerre’s  plate,  and 
some  other  iodides,  exhibit  the  same  peculiarity — This 
leads  us  to  the  striking  fact,  that  bodies  which  have  un- 
dergone a change  of  estate  under  the  influence  of  day- 
light have  some  latent  power  by  which  they  can  reno- 
vate themselves.  Possibly  the  hours  of  night  are  as  neces- 
sary to  inanimate  nature  as  they  are  to  the  animate.  During 
the  day,  an  excitement  which  we  do  not  heed,  unless  in  a 
state  of  disease,  is  maintained  by  the  influence  of  light ; 
and  the  hours  of  repose,  during  which  the  equilibrium  is 
restored,  are  absolutely  necessary  to  the  continuance  of 
health. 


LIGHT. 


27 


Instead  of  a few  chemical  compounds  of  gold  and  silver, 
wnich  at  first  were  alone  supposed  to  be  photographic, 
we  are  now  aware  that  copper,  platinum,  lead,  nikel,  and 
indeed,  probably  all  the  elements,  are  equally  liably  to 
change  under  the  sun’s  influence.  This  fact  may  be  of 
benefit  to  engravers,  for  if  steel  can  be  made  to  take  pho- 
tographic impressions,  the  more  laborious  process  of  etch- 
ing may  be  dispensed  with.  In  fact,  in  the  latter  part  of 
this  work,  a process  is  described  for  etching  and  taking 
printed  impressions  from  Daguerreotype  plates.  As  yet 
this  process  has  produced  no  decided  beneficial  results — 
but  future  experiments  may  accomplish  some  practical 
discovery  of  intrinsic  value  to  the  art  of  engraving. 

A very  simple  experiment  will  prove  how  essential 
light  is  to  the  coloring  of  the  various  species  comprising 
the  vegetable  and  animal  kingdoms.  If  we  transplant  any 
shrub  from  the  light  of  day  into  a dark  cellar,  we  will 
soon  see  it  lose  its  bright  green  color,  and  become  perfect- 
ly wdiite. 

Another  effect  of  light  is  that  it  appears  to  impart  to 
bodies  some  power  by  which  they  more  readily  enter  into 
chemical  combination  with  others.  We  have  already  said 
that  chlorine  and  hydrogen,  if  kept  in  the  dark,  will  re- 
main unaltered  ; but  if  the  chlorine  alone  be  previously 
exposed  to  the  sun,  the  chlorine  thus  solarised  will  unite 
with  the  hydrogen  in  the  dark.  Sulphate  of  iron,  will 
throw  down  gold  or  silver  from  their  solutions  slowly  in 
the  dark  ; but  if  either  solution  be  first  exposed  to  sun- 
shine, and  the  mixture  be  then  made,  in  the  dark,  the 
precipitation  takes  place  instantly.  Here  is  again,  evidence 
of  either  an  absorption  of  some  material  agent  from  the 
sunbeam,  or  an  alteration  in  the  chemical  constitution  of 
the  body.  It  was  from  understanding  these  principles  and 


28 


LIGHT. 


applying  them  that  philosophers  were  enabled  to  produce 
the  Calotype,  Daguerreotype,  &c.  For  the  effects  and 
action  of  light  on  the  camera,  see  Chapter  V. 

Some  advances  have  been  made  towards  producing 
Photographic  impressions  in  color — the  impossibility  of 
which,  some  of  our  best  and  oldest  artists  have  most 
pertinaciously  maintained.  The  colored  image  of  the 
spectrum  has  been  most  faithfully  copied,  ray  for  ray,  on 
paper  spread  with  the  juice  of  the  Cochorus  Japonica, 
(a  species  of  plant)  and  the  fluoride  of  silver  ; and  on 
silver  plate  covered  with  a thin  film  of  chloride.  The  day 
may  be  still  remote  when  this  much  to  be  desired  decid- 
eratum  in  portrait  taking  will  be  accomplished ; but  I 
am  led  to  hope  that  future  experiments  may  master  the 
secret  which  now  causes  it  to  be  looked  upon,  by  many, 
as  an  impossibility. 

That  great  advantages  have  resulted,  and  that  greater 
still  will  result  from  the  discovery  of  the  Photographic 
art,  few  will  deny.  The  faithful  manner  in  which  it  copies 
nature,  even  to  the  most  minute  details,  renders  it  of  much 
value  to  the  painter ; but  a few  minutes  sufficing  to  take 
a view  that  formerly  would  have  occupied  several  days 
Its  superiority  in  portraits,  over  miniature  or  oil  painting 
has  been  tacitly  acknowledged  by  the  thousands  who  em- 
ploy it  to  secure  their  own,  or  a friends  likeness,  and  by 
the  steady  increase  in  the  number  of  artists  who  are  week- 
ly, aye  daily,  springing  up  in  every  town  and  village  in 
the  land. 

The  following  extract  from  a very  interesting  article  in 
the  North  British  Review,  gives  facts  that  every  Daguer- 
reotypist  should  remember : 


LIGHT. 


29 


In  the  valuable  work  of  Professor  Draper,  of  New- 
York,  there  are  many  important  observations,  relative  to 
the  theory  and  practice  of  photography.  The  belief  that 
he  w.as  the  first  person  who  discovered,  what  he  calls, 
“ the  antagonizing  action  of  the  two  halves  of  the  spec- 
trum f the  blue , or  more  refrangible  half,  having  a decom- 
posing agency  on  iodide  of  silver,  and  the  red,  or  less  re- 
frangible half,  a protecting  agency.  He  states  that  “ there 
is  a certain  condition  of  the  sky,  namely,  when  it  has 
such  a degree  of  brightness  that  the  sensitive  surface  is 
slightly  stained  by  it,  under  the  decomposing  effect  of  its 
light,  is  exactly  balanced  by  the  protecting  agency  of  the 
other  rays — so  exactly  balanced,  that  it  is  immaterial 
whether  the  exposure  be  for  one  minute  or  an  hour,  for 
the  resulting  action  is  the  same.”  An  equilibrium  in 
these  two  opposite  actions,  to  a greater  or  less  extent, 
seems  to  take  place  even  with  the  solar  rays  in  tropical 
regions,  as  if  the  sun’s  light  there  was  intrinsically  differ- 
ent from  what  it  is  here. 

In  opposition,  however,  to  the  idea  of  such  an  antago- 
nizing action,  Dr.  Draper,  himself,  afterwards  affirms, 
“ that  the  red.  orange,  and  yellow  rays  which  protect  the 
plate  from  the  ordinary  photogenic  action,  were  them- 
selves capable,  when  insulated,  of  producing  a 'peculiar 
photogenic  effect;”  while  Mr.  E.  Becquerel  maintains,  as 
we  have  seen,  “ that  they  have  the  property  of  continuing 
the  action  of  the  ordinary  photogenic  rays,  when  once 
commenced.”  In  this  state  of  the  subject,  M.  Claudet 
began  a series  of  experiments  which  led  to  valuable  re- 
sults, and  of  which  he  has  enabled  us  to  give  the  follow- 
ing abstract : 

“ Having  directed  a camera,  with  an  iodized  plate,  to 
the  sun  when  his  disc  was  quite  red,  he  left  it  there  for 


30 


LIGHT. 


twenty  minutes.  The  sun  had  passed  over  a great  space 
on  the  plate,  which  was  marked  with  a long  and  perfectly 
defined  image  of  his  disc,  so  that  not  only  had  the  red 
sun  produced  no  photogenic  action,  but  the  red  rays  had 
destroyed  the  effect  produced  by  the  previous  action  of 
the  sky.  By  moving  the  camera  from  right  to  left,  and 
from  left  to  right,  and  lowering  it  each  time  by  means  of 
a screw,  he  made  the  sun  pass  rapidly  over  jive  or  six 
zones  of  the  iodized  plate.  The  lines  of  his  passage 
were  marked  with  long  black  bands,  while  the  intervals 
between  them  were  white , proving  again  that  the  red  rays 
had  destroyed  the  previous  photogenic  action.”  M. 
Claudet  obtained  the  same  result  with  redy  orange  and 
yellow  glasses.  The  impression  of  black  face  taken  by 
white  light,  was  destroyed  by  the  rays  passing  through  a 
red  glass,  and  the  same  effect  was  produced  in  different 
periods  of  time  by  orange  and  yellow  glasses.  But  what 
was  very  remarkable,  M.  Claudet  discovered,  that  after  the 
photogenic  effect  was  destroyed,  the  plate  was  restored  to 
its  former  sensitiveness  to  white  light ; nay,  we  may  ex- 
pose the  plate  to  these  two  actions  alternately,  for  any 
number  of  times,  and  yet  it  will  be  sensitive  to  the  vapor 
of  mercury,  if  its  last  exposure  has  been  the  white  light, 
and  will  be  deprived  of  that  sensitiveness  if  its  exposure 
has  been  to  the  destroying  action  of  the  red , orange , or 
yellow  rays.  Hence,  M.  Claudet  arrives  at  the  important 
practical  result,  that  the  Daguerreotype  plates  may  be 
iodized  in  open  daylight ; and  that,  in  order  to  restore 
their  sensitiveness,  which  that  light  has  destroyed,  we 
have  only  to  place  them  for  a few  minutes  under  a red 
glass,  before  we  place  them  in  a camera.  M.  Claudet  has 
shown,  that  the  discovery  by  Dr.  Draper,  of  a photogenic 
action  in  the  red  half  of  the  spectrum  is  true  also  for  the 


light. 


31 


rays  which  pass  through  red , orange , and  yellow  glasses, 
thus  proving  that  these  rays  have  two  contrary  actions, 
one  destructive  of  the  effects  of  the  photogenic  rays,  and 
another  analogous  to  the  effect  of  these  rays. 

The  photogenic  action  of  the  red  ray  is,  according  to 
M.  Claudet,  5,000  times  slower  or  weaker  than  that  of 
white  light ; that  of  the  orange  rays,  500  times ; and  that 
of  the  yellow , 100  times. 

The  destructive  action  of  the  red  rays  is  100  times 
slower  or  weaker  than  that  of  white  light ; the  orange  50 
times,  and  the  yellow  only  10  times. 

When  a plate  has  been  exposed  to  the  destructive 
action  of  any  particular  ray,  it  cannot  be  affected  photo- 
genically  by  the  same  ray  which  acted  destructively,  and 
it  is  sensitive  only  to  the  other  rays ; and  the  photogenic 
or  destructive  action  of  any  ray  cannot  be  continued  by 
another.  Hence,  M.  Claudet  draws  the  important  con- 
clusion, that  the  solar  spectrum,  is  endowed  with  three  diffe- 
rent photogenic  actions , and  three  different  destroying 
actions,  corresponding  to  the  red , yellow , and  blue  rays. 
The  rays  of  each  of  these  colours  is  endowed  with  a pho- 
togenic power  peculiar  to  itself,  which  causes  the  mercu- 
rial vapor  to  adhere  to  the  iodized  plate,  and  yet  these 
three  actions  are  so  different  that  we  cannot,  by  combining 
them  artificially,  make  one  assist  the  other,  on  account  of 
their  antagonistic  character.  The  effect  of  the  blue  rays 
is  destroyed  by  the  red  and  yellow , each  of  which  is  in  its 
turn  destroyed  by  the  blue , while  the  yellow  and  red  mu- 
tually destroy  each  other.  Hence,  it  would  appear  that 
the  .iodide  of  potash  remains  always  the  same  under  these 
different  influences,  and  that  there  is  no  separation  or  dis- 
engagement of  its  constituent  elements. 


CHAP,  III. 


8YN0PSIS  OF  MR.  HUNT’S  TREATISE  ON  U THE  INFLUENCE 
OF  THE  SOLAR  RAYS  ON  COMPOUND  BODIES,  WITH  ES- 
PECIAL REFERENCE  TO  THEIR  PHOTOGRAPHIC  APPLI- 
CATION.° 

Oxide  of  silver  exposed  for  a few  hours  to  good  sun- 
shine, passes  into  a more  decided  olive  color,  than  cha- 
racterises it  when  first  prepared  by  precipitation  from 
nitrate  of  silver.  Longer  exposure  renders  this  color 
very  much  lighter,  and  the  covered  parts,  are  found  much 
darker,  than  those  on  which  the  light  has  acted  directly. 
In  some  instances  where  the  oxide  of  silver  has  been 
spread  on  the  paper  a decided  whitening  process  in  some 
parts,  after  a few  days  exposure,  is  noticed.  Oxide  of 
silver  disol ved  in  ammonia  is  a valuable  photographic 
fluid  ; one  application  of  a strong  solution  forming  an 
exceedingly  sensitive  surface.  The  pictures  on  this  paper 
are  easily  fixed  by  salt  or  weak  ammonia. 

Nitrate  of  silver. — This  salt  in  a state  of  purity, 
does  not  appear  to  be  sensibly  affected  by  light,  but  the 
presence  of  the  smallest  portion  of  organic  matter  renders 
it  exceedingly  liable  to  change  under  luminous  influence. 

If  a piece  of  nitrated  paper  is  placed  upon  hot  iron,  or 
held  near  the  fire,  it  will  be  found  that  at  a heat  just  be- 
low that  at  which  the  paper  chars,  the  salt  is  decom- 
posed. Where  the  heat  is  greatest,  the  silver  is  revived, 


34 


SYNOPSIS  OF  MR.  HUNT’S  TREATISE. 


and  immediately  around  it,  the  paper  becomes  a deep 
blue  ; beyond  this  a pretty  decided  green  color  results,  and 
beyond  the  green,  a yellow  or  yellow  brown  stain  is 
made.  This  exhibits  a remarkable  analogy  between 
heat  and  light,— before  spoken  of  in  chap.  II— and  is  of 
some  practical  importance  in  the  preparation  of  the 
paper. 

Prismatic  analysis. — The  method  of  accomplishing 
the  prismatic  decomposition  of  rays  of  light  by  the  spec- 
trum has  already  been  described  on  pages  22  and  23.  The 
color  of  the  impressed  spectrum,  on  paper  washed  with 
nitrate  of  silver,  is  at  first,  a pale  brown,  which  passes 
slowly  into  a deeper  shade  ; that  portion  corresponding 
with  the  blue  rays  becoming  a blue  brown  ; and  under 
the  violet  of  a peculiar  piukey  shade,  a very  decided 
green  tint,  on  the  point  which  corresponds  with  the  least 
refrangible  blue  rays,  may  be  observed,  its  limits  of  ac- 
tion being  near  the  centre  of  the  yellow  ray,  and  its 
maximum  about  the  centre  of  the  blue,  although  the  ac- 
tion up  to  the  edge  of  the  violet  ray  is  continued  with 
very  little  diminution  of  effect ; beyond  this  point  the  ac- 
tion is  very  feeble. 

When  the  spectrum  is  made  to  act  on  paper  which  has 
been  previously  darkened,  by  exposure  to  sunshine  under 
cupro-sulphate  of  ammonia,  the  phenomena  are  materially 
different.  The  photographic  spectrum  is  lengthened  out 
on  the  red  or  negative  side  by  a faint  but  very  visible  red 
portion,  whieh  extends  fully  up  to  the  end  of  the  red 
rays,  as  seen  by  the  naked  eye.  The  tint  of  the  general 
spectrum,  too,  instead  of  brown  is  dark  grey,  passing, 
however,  at  its  most  refracted  or  positive  end  into  a rud- 
dy brown. 

In  its  Photographic  application,  the  nitrate  of  silver  is 


SYNOPSIS  OF  MR.  HUNT’S  TREATISE. 


35 


the  most  valuable  of  the  salts  of  that  metal,  as  from  it 
most  of  the  other  argentine  compounds  can  be  prepared, 
although  it  is  not  of  itself  sufficiently  sensible  to  light  to 
render  it  of  much  use. 

Chloride  of  Silver. — This  salt  of  silver,  whether  in 
its  precipitated  state,  or  when  fused,  changes  its  color  to 
a fine  bluish  grey  by  a very  short  exposure  to  the  sun’s 
rays.  If  combined  with  a small  quantity  of  nitrate,  the 
change  is  more  rapid,  it  attains  a deep  brown,  then  slow- 
ly passes  into  a fine  olive,  and  eventually,  after  a few 
weeks,  the  metalic  silver  is  seen  to  be  revived  on  the 
surface  of  the  salt.  Great  differences  of  color  are  pro- 
duced on  chlorides  of  silver  precipitated  by  different  mu- 
riates. Nearly  every  variety  in  combination  with  the 
nitrate,  becomes  at  last  of  the  same  olive  color,  the 
following  examples,  therefore,  have  reference  to  a few 
minutes  exposure,  only,  to  good  sunshine ; it  must  also 
be  recollected  that  the  chloride  of  silver  in  these  cases  is 
contaminated  with  the  precipitant. 

Muriate  of  ammonia  precipitates  chloride  to  darken  to 
a fine  chocolate  brown,  whilst  muriate  of  lime  produces  a 
brick-red  color.  Muriates  of  potash  and  soda  afford  a 
precipitate,  which  darkens  speedly  to  a pure  dark  brown, 
and  muriatic  acid,  or  aqueous  chlorine,  do  not  appear  to 
increase  the  darkening  power  beyond  the  lilac  to  which 
the  pure  chloride  of  silver  changes  by  exposure.  This 
difference  of  color  appears  to  be  owing  to  the  admixture 
of  the  earth  or  alkali  used  with  the  silver  salt. 

The  prismatic  impression  on  paper  spread  with  the 
chloride  of  silver  is  often  very  beautifully  tinted,  the  in- 
tensity of  color  varying  with  the  kind  of  muriate  used. 
Spread  paper  with  muriate  of  ammonia  or  baryta  and  you 
obtain  a range  of  colors  nearly  corresponding  with  the 


36 


SYNOPSIS  OF  MR.  HUNT  S TREATISE. 


natural  hues  of  the  prismatic  spectrum.  Under  favorable 
circumstances  the  mean  red  ray,  leaves  a red  impression, 
which  passes  into  a green  over  the  space  occupied  by  the 
yellow  rays.  Above  this  a leaden  hue  is  observed,  and 
about  the  mean  blue  ray,  where  the  action  is  greatest,  it 
rapidly  passes  through  brown  into  black,  and  through  the 
most  refrangible  rays  it  gradually  declines  into  a bluish 
brown,  which  tint  is  continued  throughout  the  invisible 
rays.  At  the  least  refrangible  end  of  the  spectrum,  the  very 
remarkable  phenomenon  has  been  observed,  of  the  extreme 
red  rays  exerting  a protecting  influence,  and  preserving 
the  paper  from  that  change,  which  it  would  otherwise 
undergo,  under  the  influence  of  the  dispersed  light  which 
always  surrounds  the  spectrum.  Not  only  the  extreme  red 
ray  exerts  this  very  peculiar  property,  but  the  ordinary 
red  ray  through  nearly  its  whole  length. 

In  photographic  drawing  this  salt  is  of  the  utmost  im- 
portance. Mr.  Talbot’s  application  of  it  will  be  given 
hereafter  in  another  portion  of  this  work. 

Iodide  of  silver — Perfectly  pure,  undergoes  very 
little  change  under  the  influence  of  light  or  heat ; but  it 
a very  slight  excess  of  the  nitrate  of  silver  be  added  it 
becomes  infinitely  more  senitive  than  the  chloride 

The  spectrum  impressed  upon  paper  prepared  with  a 
weak  solution  of  the  hydriodate  of  potash  presents  some 
very  remarkable  peculiarities.  The  maximum  of  intensity 
is  found  at  the  edge  of  the  most  refrangible  violet  rays, 
or  a little  beyond  it,  varying  slightly  according  to  the 
kind  of  paper  used,  and  the  quantity  of  free  nitrate  of 
silver  present.  The  action  commences  at  a point 
nearly  coincident  with  the  mean  red  of  the  luminous 
spectrum,  where  it  gives  a dull  ash  or  lead  color,  while 
the  most  refrangible  rays  impress  a ruddy  snuff-brown, 


SYNOPSIS  OF  MR.  HUNT’S  TREATISE.  37 

the  change  of  tint  coming  on  rather  suddenly  abou* 
the  end  of  the  blue  or  beginning  of  the  violet  rays 
of  the  luminous  spectrum.  Beyond  the  extreme  violet 
rays,  the  action  rapidly  diminishes,  but  the  darkening 
produced  by  these  invisible  rays,  extends  a very  small 
space  beyond  the  point  at  which  they  cease  to  act  on  the 
chloride  of  silver. 

In  its  photographic  application,  it  is,  alone,  of  very 
little  use ; but  in  combination  with  other  re-agents  it  be- 
comes exquisitely  sensitive.  With  gallic  acid  and  the 
ferrocyanate  of  potash  it  forms  two  of  the  most  sensitive 
photographic  solutions  with  which  we  are  acquainted. 
These  are  used  in  the  calotype  process. 

Ioduret  of  silver. — If  upon  a plate  of  polished  silver 
we  place  a small  piece  of  iodine,  and  apply  the  heat  of  a 
lamp  beneath  the  plate  for  a moment,  a system  of  rings  is 
speedily  formed.  The  first  ring, which  spreading  constantly 
forms  the  exterior  of  the  circle,  is  of  a bright  yellow  col- 
or; within  this,  there  arises,  sucessively,  rings  of  green, 
red  and  blue  colors,  and  then  again  a fine  yellow  circle, 
centred  by  a greyish  spot  on  the  place  occupied  by  the 
iodine.  On  exposing  these  to  the  light,  the  outer  yellow 
circle  almost  instantly  changes  color,  the  others  slowly,  in 
the  order  of  their  position,  the  interior  yellow  circle  re- 
sisting for  a long  time  the  solar  influence.  These  rings 
must  be  regarded  as  films  of  the  ioduret  of  silver,  varying, 
not  only  in  thickness,  but  in  the  more  or  less  perfect  states 
of  combination  in  which  the  iodine  and  metal  are.  The 
exterior  circle  is  an  ioduret  in  a very  loose  state  of  chem- 
ical agregation  ; the  attractive  forces  increase  as  we  pro- 
ceed towards  the  centre,  where  a well  formed  ioduret,  or 
probably  a true  iodide  of  silver,  is  formed,  which  is  acted 
upon  by  sunlight  with  difficulty.  The  exterior  and  most 


I 


38  SYNOPSIS  OP  MR.  hunt’s  TREATISE. 

sensitive  film  constitutes  the  surface  of  Daguerreotype 
plates.  The  changes  which  these  colored  rings  undergo 
are  remarkable ; by  a few  minutes  exposure  to  sunlight, 
an  inversion  of  nearly  all  the  colors  takes  place,  the  two 
first  rings  becoming  a deep  olive  green  ; and  a deep  blue 
inclining  to  black. 

The  nature  of  the  change  whi<?h  the  ioduret  of  silver 
undergoes  on  Daguerreotype  plates,  through  the  action  of 
light,  Mr.  Hunt  considers  to  be  a decided  case  of  decom- 
position, and  cites  several  circumstances  in  proof  of  his 
position.  These  with  other  facts  given  by  Mr.  Hunt  in 
his  great  work  on  the  Photographic  art,  but  to  volum- 
nious  to  include  in  a volume  of  the  size  to  which  I am 
obliged  to  cofine  myself,  should  be  thoroughly  studied  by 
all  Daguerreotypists. 

Prismatic  analysis. — The  most  refrangible  portion  of 
the  spectrum,  (on  a Daguerreotype  plate)  appears,  after 
the  plate  has  been  exposed  to  the  vapor  of  mercury,  to 
have  impressed  its  colors ; the  light  and  delicate  film  of 
mercury,  which  covers  that  portion,  assuming  a fine  blue 
tint  about  the  central  parts,  which  are  gradually  shaded 
off  into  a pale  grey  ; and  this  is  again  surrounded  by  a 
very  delicate  rose  hue,  which  is  lost  in  a band  of  pure 
white.  Beyond  this  a protecting  influence  is  powerfully 
exerted;  and  notwithstanding  the  action  of  the  dispersed 
light,  which  is  very  evident  over  the  plate,  a line  is  left, 
perfectly  free  from  mercurial  vapor,  and  which,  conse- 
quently, when  viewed  by  a side  light,  appears  quite 
dark.  The  green  rays  are  represented  by  a line  of  a cor- 
responding tint,  considerably  less  in  size  than  the  lumi- 
nous green  rays.  The  yellow  rays  appear  to  be  without 
action,  or  to  act  negatively,  the  space  upon  which  they 
fall  being  protected  from  the  mercurial  vapor ; and  it 


SYNOPSIS  OF  MR.  HUNT’S  TREATISE.  39 

consequently  is  seen  as  a dark  band.  A white  line  of 
vapor  marks  the  place  of  the  orange  rays.  The  red  rays 
effect  the  sensitive  surface  in  a peculiar  manner ; and  we 
have  the  mercurial  vapor,  assuming  a molecular  arrange- 
ment which  gives  to  it  a fine  rose  hue  ; this  tint  is  sur- 
rounded by  a line  of  white  vapor,  shaded  at  the  lowest 
extremity  with,  a very  soft  green.  Over  the  space  occupi- 
ed by  the  extreme  red  rays,  a protecting  influence  is  again 
exerted;  the  space  is  retained  free  from  mercurial  vapor 
and  the  band  is  found  to  surround  the  whole  of  the  least 
refrangible  rays,  and  to  unite  itself  with  the  band  which 
surrounds  the  rays  of  greatest  refrangibility.  This  band 
is  not  equally  well  defined  throughout  its  whole  extent. 
It  is  most  evident  from  the  extreme  red  to  the  green ; it 
fades  in  passing  through  the  blue,  and  increases  again, 
as  it  leaves  the  indigo,  until  beyond  the  invisible  chemi- 
cal rays  it  is  nearly  as  strong  as  it  is  at  the  calorific  end 
of  the  spectrum. 

Images  on  Daguerreotype  plates  which  have  been 
completely  obliterated  by  rubbing  may  be  restored,  by 
placing  it  in  a tolerably  strong  solution  of  iodine  in  water. 

Bromide  of  silver. — This  salt,  like  the  iodide,  does 
not  appear  to  be  readily  changed  by  the  action  of  light ; 
but  when  combined  with  the  nitrate  of  silver  it  forms  a 
very  sensitive  photographic  preparation. 

Paper  prepared  with  this  salt,  blackens  over  its  whole 
extent  with  nearly  equal  intensity,  when  submitted  to  the 
prismatic  spectrum.  The  most  characteristic  peculiarity 
of  the  spectrum  is  its  extravagant  length.  Instead  of 
terminating  at  the  mean  yellow  ray,  the  darkened  portion 
extends  down  to  the  very  extremity  of  the  visible  red 
rays.  In  tint  it  is  pretty  uniformly  of  a grey -black  over 
its  whole  extent,  except  that  a slight  fringe  of  redness  is 

3 


40 


SYNOPSIS  OF  MR.  HUNT’S  TREATISE. 


perceptible  at  the  least  refracted  end.  Beyond  the  red  ray 
an  extended  space  is  protected  from  the  agency  of  the  dis- 
persed light,  and  its  whiteness  maintained  ; thus  confirm 
ming  the  evidence  of  some  chemical  power  in  action, 
over  a space  beyond  the  luminous  spectrum,  which  cor- 
responds with  the  rays  of  the  least  refrangibility. 

This  salt  is  extensively  used  in  photographic  drawing. 

Preparations  of  Gold. — Chloride  of  Gold,  freed  from 
an  excess  of  acid  is  slowly  changed  under  the  action  of 
light ; a regularly  increasing  darkness  taking  place  until 
it  becomes  purple,  the  first  action  of  the  light  being  to 
whiten  the  paper,  which,  if  removed  from  the  light  at  this 
stage,  will  gradually  darken  and  eventually  develope  the 
picture.  This  process  may  be  quickened  by  placing  the 
paper  in  cold  water. 

Chloride  of  gold  with  nitrate  of  silver  gives  a precipi- 
tate of  a yellow  brown  color.  Paper  impregnated  with 
the  acetate  of  lead,  when  washed  with  perfectly  neutral 
chloride  of  gold,  acquires  a brownish-yellow  hue.  The 
first  impression  of  light  seems  rather  to  whiten  than  dark- 
en the  paper,  by  discharging  the  original  color,  and  oub- 
stituting  for  it  a pale  greyish  tint,  which  by  slow  degrees 
increases  to  a dark  slate  color  ; but  if  arrested,  while  yet 
not  more  than  a moderate  ash  grey,  and  held  in  a current 
of  steam , the  color  of  the  parts  acted  upon  by  light — and 
of  that  only — darkens  immediately  to  a deep  purple. 

Here  I must  leave  the  subject  of  the  action  of  light  up- 
on metalic  compounds — referring  to  Mr.  Hunts  work  for 
any  further  information  the  student  may  desire  on  the 
other  metals — as  I find  myself  going  beyond  my  limits.  1 
cannot,  however,  entirely  dismiss  the  subject  without 
giving  a few  examples  of  the  action  of  light  on  the  juices 


8YN0PSIS  OF  MR.  HUNT’S  TREATISE. 


41 


of  plants,  some  of  which  produce  very  good  photographic 
effects. 

Corchorus  japonica — The  juice  of  the  flowers  of  this 
plant  impart  a fine  yellow  color  to  paper,  and,  so  far  as 
ascertained,  is  the  most  sensitive  of  any  vegetable  pre- 
paration ; but  owing  to  its  continuing  to  change  color 
even  in  the  dark,  photographic  images  taken  on  paper 
prepared  with  it  soon  fade  out. 

Wall  flower. — This  flower  yields  a juice,  when  ex- 
pressed with  alcohol,  from  which  subsides,  on  standing, 
a bright  yellow  finely  divided  faecula,  leaving  a greenish- 
yellow  transparent  liquid,  only  slightly  colored  superna- 
tant. The  faecula  spreads  well  on  paper,  and  is  very 
sensitive  to  light,  but  appears  at  the  same  time  to  under- 
go a sort  of  chromatic  analysis,  and  to  comport  itself  as  if 
composed  of  two  very  distinct  coloring  principles,  very 
differently  affected.  The  one  on  which  the  intensity  and 
sub-orange  tint  of  the  color  depends,  is  speedily  destroyed, 
but  the  paper  is  not  thereby  fully  whitened.  A paler  yel- 
low remains  as  a residual  tint,  and  this  on  continued  ex- 
posure to  the  light,  slowly  darkens  to  brown.  Exposed 
to  the  spectrum,  the  paper  is  first  reduced  nearly  to 
whiteness  in  the  region  of  the  blue  and  violet  rays.  More 
slowly,  an  insulated  solar  image  is  whitened  in  the  less 
refrangible  portion  of  the  red.  Continue  the  exposure, 
and  a brown  impression  begins  to  be  percieved  in  the 
midst  of  the  white  streak,  which  darkens  slowly  over  the 
region  between  the  lower  blue  and  extreme  violet  rays. 

The  red  poppy  yields  a very  beautiful  red  color,  which 
is  entirely  destroyed  by  light.  When  perfectly  dried  on 
paper  the  color  becomes  blue.  This  blue  color  is  speed- 
ily discharged  by  exposure  to  the  sun’s  rays,  and  papers 
prepared  with  it  afford  very  interesting  photographs. — 


42  SYNOPSIS  OF  MR.  HUNT’S  TREATISE. 

Future  experiments  will  undoubtedly  more  fully  devel- 
ope  the  photogenic  properties  of  flowers,  and  practically 
apply  them. 

Certain  precautions  are  necessary  in  extracting  the 
coloring  matter  of  flowers.  The  petals  of  fresh  flowers, 
carefully  selected,  are  crushed  to  a pulp  in  a mortar, 
either  alone  or  with  the  addition  of  a litte  alcohol,  and 
the  juice  expressed  by  squeezing  the  pulp  in  a clean  linen 
or  cotton  cloth.  It  is  then  to  be  spread  upon  paper  with 
a flat  brush,  and  dried  in  the  air.  If  alcohol  be  not  added, 
it  must  be  applied  immediately,  as  the  air  changes  or  des- 
troys the  color  instantly. 

Most  flowers  give  out  their  coloring  matter  to  alcohol 
or  water — but  the  former  is  found  to  weaken,  and  in 
some  cases  to  discharge  altogether  these  colors  ; but  they 
are  in  most  cases  restored  in  drying.  Paper  tinged  with 
vegetable  colors  must  be  kept  perfectly  dry  and  in  dark- 
ness. 

To  secure  an  eveness  of  tint  on  paper  it  should  be  first 
moistened  on  the  back  by  sponging,  and  blotting  off  with 
bibulous  paper.  It  should  then  be  pinned  on  a board,  the 
moist  side  downwards,  so  that  two  of  its  edges — the  right 
and  lower  ones — project  a little  over  those  of  the  board. 
Incline  the  board  twenty  or  thirty  degrees  to  the  horizon, 
and  apply  the  tincture  with  a brush  in  strokes  from  right 
to  left,  taking  care  not  to  go  over  the  edges  which  rests  on 
the  board,  but  to  pass  clearly  over  those  that  project  ; 
and  also  observing  to  carry  the  tint  from  below  upwards 
by  quick  sweeping  strokes,  leaving  no  dry  spaces  be- 
tween them.  Cross  these  with  other  strokes  from  above 
downwards,  leaving  no  floating  liquid  on  the  paper.  Dry 
as  quickly  as  possible,  avoiding,  however,  such  heat  as 
may  injure  the  tint. 


CHAP.  IV. 


A FEW  HINTS  AND  SUGGESTIONS  TO  DAGUERREOTYPlSTS. 

There  are  very  few  who  may  not  be  capable  of  prac 
tising  the  Photographic  art,  either  on  paper,  or  metalic 
plates — but,  like  all  other  professions,  some  are  more 
clever  in  its  various  processes  than  others. 

Impatience  is  a great  drawback  to  perfect  success,  and 
combined  with  laziness  is  a decided  enemy.  Besides 
this,  no  one  can  excel  in  Photography  who  does  not  pos- 
sess a natural  taste  for  the  fine  arts,  who  is  not  quick  in 
discerning  grace  and  beauty-— is  regardless  of  the  prin- 
ciples of  perspective,  foreshorting  and  other  rules  of 
drawing,  and  who  sets  about  it  merely  for  the  sake  of 
gain— -without  the  least  ambition  to  rise  to  the  first  rank, 
both  in  its  practice  and  theory.  There  is  no  profession 
or  trade  in  which  a slovenly  manner  will  not  show  itself, 
and  none  where  its  effects  will  be  more  apparent  than 
this. 

In  order  to  he  great  in  any  pursuit,  we  must  be  dili- 
gent, and  keep  all  things,  in  order.  In  your  show  and 
reception  rooms,  let  neatness  prevail ; have  your  speci- 
mens so  placed — leaning  slightly  forward — as  to  obtain 
the  strongest  light  upon  them,  and  at  the  same  time  pre- 
vent that  glassiness  of  apearance  which  detracts  so  ma- 
terially from  the  effect  they  are  intended  to  produce.  It 
possible,  let  the  light  be  of  a north-western  aspect,  mel- 


44 


HINTS  AND  SUGGESTIONS. 


lowed  by  curtains  of  a semi-transparent  hue.  Your  show- 
cases,  at  the  door,  should  be  kept  well  cleaned.  I have 
often  been  disgusted  while  attempting  to  examine  por- 
traits in  the  cases  of  our  artists,  at  the  greasy  coating  and 
marks  of  dirty  fingers  upon  the  glass  and  frame  enclosing 
them.  Believe  it,  many  a good  Customer  is  lost  for  no 
other  reason. 

In  your  operating  room,  dust  should  be  carefully  ex- 
cluded. It  should  be  furnished  with  nothing  apt  to  col- 
lect and  retain  dust ; a carpet  is  therefore  not  only  a use- 
less article,  but  very  improper.  A bare  floor  is  to  be 
prefered  ; but  if  you  must  cover  jt  use  matting.  There 
is  no  place  about  your  establishment  where  greater  care 
should  be  taken  to  have  order  and  cleanliness  ; for  it  will 
prevent  many  failures  often  attributed  to  other  causes. 
u A place  for  every  thing,  and  every  thing  in  its  place,’’ 
should  be  an  absolute  maxim  with  all  artists.  Do  not 
oblige  the  ladies,  on  gc:ng  away  from  your  rooms,  to 
say — “ That  H.  is  a slovenly  man  ; see  how  my  dress  js 
ruined  by  sitting  down  in  a chair  that  looked  as  if  it  had 
just  come  out  of  a porter  house  kitchen  and  had  not  been 
cleaned  for  six  months.” 

In  choosing  your  operating  room,  obtain  one  with  a 
north-western  aspect,  if  possible  ; and  either  with,  or  ca- 
pable of  having  attached,  a large  sky-light.  Good  pic- 
tures may  be  taken  without  the  sky-light,  but  not  the 
most  pleasing  or  effective. 

A very  important  point  to  be  observed,  is  to  keep  the 
camera  perfectly  free  from  dust.  The  operator  should 
be  careful  to  see  that  the  slightest  particle  be  removed, 
for  the  act  of  inserting  the  plate-holder  will  set  it  in  mo- 
tion, if  left,  and  cause  those  little  black  spots  on  the 
plate,  by  which  an  otherwise  good  picture  is  spoiled. 


HINTS  AND  SUGGESTIONS. 


45 


The  camera  should  be  so  placed  as  to  prevent  the  sun 
shining  into  the  lenses. 

In  taking  portraits,  the  conformation  of  the  sitter 
should  be  minutely  studied  to  enable  you  to  place  her  or 
him  in  a position  the  most  graceful  and  easy  to  be  ob- 
tained. The  eyes  should  be  fixed  on  some  object  a little 
above  the  camera,  and  to  one  side — but  never  into,  or  on 
the  instrument,  as  some  direct ; the  latter  generally  gives 
a fixed,  silly,  staring,  scowling  or  painful  expression  to 
the  face.  Care  should  also  be  taken,  that  the  hands  and 
feet,  in  whatever  position,  are  not  too  forward  or  back- 
ward from  the  face  when  that  is  in  good  focus. 

If  any  large  surface  of  white  is  present,  such  as  the 
shirt  front,  or  lady’s  handkerchief,  a piece  of  dark  cloth 
(a  temporary  bosom  of  nankeen  is  best,)  may  be  put  over 
it,  but  quickly  withdrawn  when  the  process  is  about  two 
thirds  finished. 

A very  pleasing  effect  is  given  to  portraits,  by  intro- 
ducing, behind  the  sitter,  an  engraving  or  other  picture — 
if  a painting,  avoid  those  in  which  warm  and  glowing 
tints  predominate.  The  subject  of  these  pictures  may  be 
applicable  to  the  taste  or  occupation  of  the  person  whose 
portrait  you  are  taking.  This  adds  much  to  the  interest 
of  the  picture,  which  is  otherwise  frequently  dull,  cold 
and  inanimate. 

Mr.  J.  H.  Whitehurst  of  Richmond,  Va.,  has  intro- 
duced a revolving  background,  which  is  set  in  motion 
during  the  operation,  and  produces  a distinctness  and  bold- 
ness in  the  image  not  otherwise  to  be  obtained.  The 
effect  upon  the  background  of  the  plate  is  equally  pleas- 
ing ; it  having  the  appearance  of  a beautifully  clouded 
sky. 

In  practising  Photographic  drawing  on  paper,  the  stu- 


46 


HINTS  AND  SUGGESTIONS. 


dent  must  bear  in  mind  that  it  is  positively  essential,  to 
secure  success  in  the  various  processes,  to  use  the  utmost 
precaution  in  spreading  the  solutions,  and  washes  from 
the  combination  of  which  the  sensitive  surfaces  result. 
The  same  brush  should  always  be  used  for  the  same  solu- 
tion, and  never  used  for  any  other,  and  always  washed  in 
clean  water  after  having  been  employed.  Any  metalic 
mounting  on  the  brushes  should  be  avoided,  as  the  metal 
precipitates  the  silver  from  its  solution.  The  brushes 
should  be  made  of  camels  or  badger’s  hair  and  sufficiently 
broad  and  large  to  cover  the  paper  in  two  or  three 
sweeps ; for  if  small  ones  be  employed,  many  strokes 
must  be  given,  which  leave  corresponding  streaks  that 
will  become  visible  when  submitted  to  light,  and  spoil 
the  picture. 

These  few  preliminary  hints  and  suggestions,  will,  I 
trust,  be  of  some  service  to  all  who  adopt  this  pleasing 
art  as  a profession  ; and  will,  with  a due  attention  to 
the  directions  given  in  the  practical  working  of  the  Da- 
guerreotype, Calotype,  etc.,  ensure  a corresponding  mea- 
sure of  success. 


CHAP.  V. 


DAGUERREOTYPE  APPARATUS. 

The  entire  Daguerreotype  process  is  comprised  in 
seven  distinct  operations  ; viz: 

1.  — Cleaning  and  polishing  the  plate. 

2.  — Applying  the  sensitive  coating. 

3 — Submitting  the  plate  to  the  action  of  light  in  the 
camera. 

4.  — Bringing  out  the  picture  ; in  other  words  rendering 
it  visible. 

5.  — Fixing  the  image , or  making  it  permanent — so  that 
the  light  may  no  longer  act  upon  it. 

6.  — Gilding : or  covering  the  picture  with  a thin  film,  of 
gold — which  not  only  protects  it,  but  greatly  improves  its 
distinctness  and  tone  of  color. 

7.  — Coloring  the  picture. 

For  these  various  operations  the  following  articles — 
which  make  up  the  entire  apparatus  of  a Daguerrean  ar- 
tist— must  be  procured. 

1. — The  Camera. — {Fig.  5.).  The  Camera  Obscura 
of  the  Italian  philosophers,  although  highly  appreciated, 
on  account  of  the  magical  character  of  the  pictures  it  pro- 
duced, remained  little  other  than  a scientific  toy,  until  the 
discovery  of  M.  Daguerre.  The  value  of  this  instrument 
is  now  great,  and  the  interest  of  the  process  which  it  so 


48 


DAGUERREOTYPE  APPARATUS, 


essentially  aids,  universally  admitted.  A full  description 
of  it  will  therefore  be  interesting. 


Fig.  5. 


The  camera  is  a dark  box  (a),  having  a tube  with  len 
ses  ( b ) placed  in  one  end  of  it,  through  which  the  ra- 
diations from  external  objects  pass,  and  form  a diminished 
picture  upon  the  ground  glass  ( g ) placed  at  the  proper 
distance  in  the  box  to  receive  it ; the  cap  c covering  the 
lenses  at  b until  the  plate  is  ready  to  receive  the  image  of 
the  object  to  be  copied. 

Thus  a (fig.  6.)  representing  the  lens,  and  b the  object 
desired  to  be  represented,  the  rays  (c,  c)  proceeding  from 
it  fall  upon  the  lens,  and  are  transmitted  to  a point,  which 
varies  with  the  curvature  of  the  glass,  where  an  inverted 
image  ( d ) of  b is  very  accurately  formed.  At  this  point, 
termed  the  focus,  the  sensitive  photographic  material  is 
placed  for  the  purpose  of  obtaining  the  required  picture. 

The  great  desideratum  in  a photographic  camera  is 
perfect  lenses.  They  should  be  achromatic,  and  the  utmost 


DAGUERREOTYPE  APPARATUS. 


49 


Fig.  6. 


transparency  should  be  obtained ; and  under  the  closest 
inspection  of  the  glass  not  the  slightest  wavy  appearance, 
or  dark  spot  should  be  detected  ; and  a curvature  which 
as  much  as  possible  prevents  spherical  aberration  should 
be  secured.  The  effect  produced  by  this  last  defect  is  a 
convergence  of  perpendiculars,  as  for  instance ; two  tow- 
ers of  any  building,  would  be  represented  as  leaning  to- 
wards each  other  ; and  in  a portrait  the  features  would 
seem  contracted,  distorted  and  mingled  together,  so  as  to 
throw  the  picture  out  of  drawing  and  make  it  look 
more  like  a caricature  than  a likeness.  If  the  lens  be 
not  achromatic,  a chromatic  aberration  takes  place,  which 
produces  an  indistinct,  hazy  appearance  around  the  edges 
of  the  picture,  arising  from  the  blending  of  the  rays. 

The  diameter  and  focal  length  of  a lens  must  depend 
in  a great  measure  on  the  distance  of  the  object,  and  also 
on  the  superficies  of  the  plate  or  paper  to  be  covered. 
For  portraits  one  of  1*  inches  diameter,  and  from  4%  to 
5^  inches  focus  may  be  used ; but  for  distant  views,  one 
from  2 inches  to  3 inches  diameter,  and  from  8 to  12 
inches  focal  length  will  answer  much  better.  For  single 
lenses,  the  aperture  in  front  should  be  placed  at  a distance 


50 


DAGUERREOTYPE  APPARATUS* 


from  it,  corresponding  to  the  diameter,  and  of  a size  not 
more  than  one  third  of  the  same.  A variety  of  movable 
diaphrams  or  caps,  to  cover  the  aperture  in  front,  are  very 
useful,  as  the  intensity  of  the  light  may  be  modified  by 
them  and  more  or  less  distinctness  and  clearness  of  delin- 
eation obtained.  These  caps  alway  come  with  Voitlander 
instruments  and  should  be  secured  by  the  purchaser. 

Though  the  single  acromatic  lens  answers  very  well  for 
copying  engravings ; taking  views  from  nature  or  art,  for 
portraits  the  double  should  always  be  used.  The  exten- 
sive manufacture  of  the  most  approved  cameras,  both  in 
Europe  and  in  this  country,  obviates  all  necessity  for  any 
one  attempting  to  construct  one  for  their  own  use.  Lens- 
es are  now  made  so  perfect  by  some  artisans  that,  what 
is  called  the  u quick  working  camera  ” will  take  a pic- 
ture in  one  second,  while  the  ordinary  cameras  require 
from  eight  to  sixty. 

The  camera  in  most  general  use  is  that  manufactured 
by  Voigtlander  and  Son  of  Germany.  Their  small  size 
consists  of  two  seperate  acromatic  lenses  ; the  first,  or 
external  one,  has  a free  aperture  of  1 M inches  ; the  se- 
cond, or  internal,  1 % inches  ; and  both  have  the  same  fo- 
cus, viz  : 5%  inches.  The  larger,  size  differs  from  the 
smaller.  The  inner  lens  is  an  achromatic  3m  inches  dia- 
meter, its  focal  length  being  30  inches.  The  outer  lens 
is  a meniscus — that  is  bounded  by  a concave  and  convex 
spherical  surface  which  meet — having  a focal  length  o f 
18  inches.  For  every  distant  view,  the  aperture  in  front 
is  contracted  by  a diaphram  to  % of  an  inch.  By  this 
means  the  light  is  reflected  with  considerable  intensity 
and  the  clearness  and  correctness  ot  the  pictures  are  truly 
surprising. 

TheAmerica  instruments  are  constructed  on  thesame 


DAGUERREOTYPE  APPARATUS. 


51 


principle  and  many  of  them  are  equally  perfect.  Mr. 
Edward  Anthony  of  205  Broadway,  New  York  city,  has 
constructed,  and  sold  cameras  fully  equal  to  the  German 
and  for  which  Yoigtlander  instruments  have  been  refused 
in  exchange  by  the  purchaser. 

The  ordinary  camera  box  (see  jig.  5,  a)  varies  in  size 
to  suit  the  tube,  and  is  termed  medium,  half,  or  whole 
Within  the  box  is  a slide  to  assist  in  regulating  the  focus, 
and  in  enlarging  or  diminishing  the  picture.  In  one  end 
of  this  slide  is  a springed  groove  into  which  the  ground- 
glass  spectrum  ( g jig.  5)  is  slid,  for  the  purpose  of  more 
conveniently  arranging  the  focus.  After  the  plate  is 
prepared  it  is  placed  in  the  holder — partly  seen  at  e,fig.  5, 
and  covered  with  the  dark  slide /,  fig.  5 ; the  spectrum  is 
then  withdrawn  and  the  holder  takes  its  place,  and  the 
lids  d, d,  are  closed  after  removing  the  dark  slide/.  The 
plate  is  now  ready  to  receive  the  image,  and  the  cap  c 
may  be  removed  to  admit  the  light  into  the  box. 

A camera  constructed  by  Yoigtlander  is  thus  described 
by  Mr.  Fisher.  u It  is  made  entirely  of  brass,  so  that  varia- 
tions of  climate  has  no  effect  upon  it.  It  is  very  portable 
and  when  packed  in  its  box,  with  all  the  necessary  ap- 
paratus and  materials  for  practising  the  Daguerreotype  art, 
occupies  but  very  little  space.  It  is  not,  however,  well 
adapted  for  the  Calotype  process.  ” 

u The  brass  foot  A (fig.  7.),  is  placed  on  a table,  or 
other  firm  support,  and  the  pillar  B.  screwed  into  it ; the 
body  of  the  camera,  C,  C is  laid  into  the  double  forked 
bearing  D.  D.  The  instrument  is  now  properly  adjusted 
by  means  of  the  set  screws,  6,  e,  e,  in  the  brass  foot,  or 
it  may  be  raised,  lowered,  or  moved,  by  the  telescope 
stand,  and  when  correct,  fixed  by  the  screw  b.  The 
landscape  to  be  delineated  is  viewed  either  through  the 


52 


DAGUERREOTYPE  APPARATUS 


Fig.  7. 


small  lens,  g , or  with  the  naked  eye  on  the  ground  glass 
plate  Il\  the  focus  being  adjusted  by  the  screw  I.  The 
optical  part  of  the  instrument  consist  of  the  small  set  of 
achromatic  lenses  already  described.  When  the  portrait 
or  view  is  deleniated  on  the  ground  glass  to  the  entire  sa- 
tisfaction of  the  operator,  the  brass  cap  L is  placed  over 
the  lens,  and  the  entire  body  is  removed  away  into  the 
dark,  taking  care  not  to  disturb  the  position  of  the  stand. 
The  body  is  now  detached  at  the  part  iJ,  and  the  prepa- 
red paper  or  plate  enclosed  in  the  brass  frame  work  intro- 
duced in  its  place  ; the  whole  is  again  placed  upon  the 
pedestal,  the  brass  cap  L is  removed,  by  which  the  paper 
or  plate  is  exposed  to  the  full  influence  of  the  light,  after 
which  the  cap  is  again  replaced. 

Mr.  Woodbridge,  of  this  city,  has  constructed  an  in- 
strument for  taking  full  length  portraits  on  olates  10  by 


DAGUERREOTYPE  APPARATUS. 


53 


13  inches,  which  is  wor-  Fig.  8. 

thy  of  some  notice.  It  is 
a double  camera,  consist- 
ing of  two  boxes,  placed 
in  a frame,  one  above  the 
other,  and  so  arranged  as 
to  slide  easily  up  and 
down.  After  the  focus 
has  been  adjusted,  on  the 
object,  in  both  cameras, 
the  plate  is  put  into  the 
upper  box,  in  the  manner 
already  described,  until 
the  superior  portion  of 
the  figure  is  complete  > 
it  is  then  placed  in  the 
second  box  and  the  lower 
extremities  obtained.  The 
adjustment  of  the  instru- 
ment is  so  complete  that 
a perfect  union  of  the  parts  is  effected  in  the  picture 
without  the  least  possible  line  of  demarkation  being  visi- 
ble. Fig.  8 gives  a front  view  of  this  instrument. 

Fig.  9 represents  Talbot’s  Calotype  Camera, — a very 
beautiful  instrument. 

The  copying  camera  box  has  an  extra  slide  in  the  back 
end,  by  which  it  may  be  considerably  lengthened  at  plea- 
sure. 

II. — Camera  Stand. — The  best  constructed  stands  are 
made  of  maple  or  blackwallnut  wood,  having  a cast  iron 
socket  (a,  fig.  12,)  through  which  the  sliding  rod  b pas- 
ses, and  into  which  the  legs  c,  c,  with  iron  screw  ferules  are 
inserted.  The  platform  d is  made  of  two  pieces,  hinged 


54 


DAGUERREOTYPE  APPARATUS. 


together,  as  at  e,  and  having  a Fig.  9. 
thumb  screw  for  the  purpose  of 
elevating  or  depressing  the  instru- 
ment. 

III.  Mercury  bath. — Fig.  13 
gives  a front  view  of  the  mercury 
bath  now  in  general  use  in  this 
country  for  mercurializing  and 
bringing  out  the  picture.  It  is 
quite  an  improvement  on  those  first 
used.  To  make  it  more  portable 
it  is  in  three  pieces,  a b and  c ; hav- 
ing a groove  e on  one  side  to  receive 
the  thermometre  tube  and  scale  by 
which  the  proper  degree  of  heat- 
ing the  mercury  is  ascertained.  Into 
the  top  are  nicely  fitted  two  or  three  iron  frames,  with 
shoulders,  for  the  plate  to  rest  in,  suitable  for  the  differ- 
ent sizes  of  plates.  The  bath  is  heated  by  means  of  a 
spirit  lamp  placed  under  it.  From  two  to  four  ounces 
of  highly  purified  mercury  are  put  into  the  bath  at  a time. 


IV.  Plate  blocks  and  viCES.-^There  are  several  kinds 
of  this  article  in  use ; I shall  describe  the  two  best  only. 

Fig.  10  gives  an  idea  of  the  improve- 
ment on  the  Fnglish  hand  block.  The 
top  a is  perfectly  flat  and  smooth — a 
little  smaller  than  the  plate,  so  as  to 
permit  the  latter  to  project  a very  little 
all  around — having  at  opposite  angles 
c c two  clasps,  one  fixed  the  other  moveable,  but  capable 
of  being  fastened  by  the  thumb  screw  d , so  as  to  secure 
the  plate  tightly  upon  the  block.  This  block  turns  upon 


daguerreotype  apparatus. 


55 


a swivle,  5,  which  is  attached  to  the  table  hy  the  screw  c* 
This  block  is  only  used  for  holding  the  plate  while  under- 
going the  first  operation  in  cleaning. 

Fig.  11. 


Fig.  11,  show's  the  form  of  Lewis’  newly  patented 
plate  vice,  which  for  durability,  simplicity  and  utility  is 
preferable  to  all  others.  It  consists  of  a simple  platform 
and  arm  of  cast  iron,  the  former,  a,  having  a groove, 
in  the  centre  for  fixing  the  different  sizes  of  plate  beds,  e 
—and  the  latter  supporting  the  levers  e /.  On  this  vice 
which  is  secured  to  a table,  or  bench,  the  plate  receives 
its  finishing  polish  with  rouge,  or  prepared  lampblack. 
Mr.  Lewis  gives  the  following  directions  for  its  use.  “As 
the  cam  wears  tighten  it  with  the  adjusting  screw  ( g ) so 
as  to  allow  the  lever  (/)  to  fall  back  into  a horizontal 
position  ; the  plate  being  in  its  placG  at  the  time.  Oil 
the  wearing  parts  occasionally.” 

Some  Daguerreotypists,  however,  use  a foot  lathe 
with  buff  wheels  of  various  forms  ; but  this  vice  is  suffi- 
cient for  all  ordinary  purposes. 

V.  Coating  boxes. — The  usual  form  for  iodine  and 


56 


DAGUERREOTYPE  APPARATUS, 


Fig.  12. 


e 


Fig.  13. 


bromine  boxes  is  seen  at  figs.  14  and  15.  They  are  far 
superior  to  those  in  use  with  the  English  operators.  Each 
consists  of  a wooden  box  (a,)  having  firmly  embeded 
within  it  a stout  glass  jar  (c),  the  edges  of  which  are 
ground.  Over  this  is  placed  the  sliding  cover  6,  double 
the  length  of  the  box,  one  half  occupied  by  a piece  of 
ground  glass  ( e ),  tightly  pressed  upon  the  glass  pot  by  a 
spring  ( i ) beneath  the  cross  bar  g , and  fits  the  pot  so  ac- 
curately that  it  effectually  prevents  the  escape  of  the  va- 
por of  the  iodine,  bromine  or  other  accelerating  liquid 
contained  therein.  The  other  half  of  the  lid  is  cut 
through,  shoulders  being  left  at  the  four  angles  for  the 
different  sizes  of  frames,  designed  to  recieve  the  plate 
while  undergoing  the  coating  process.  When  the 
plate  is  put  into  the  frame,  the  cover  b is  shoved  un- 
der the  second  lid  h and  when  coated  to  the  proper  de- 
gree, it  resumes  its  former  position  and  the  plate  is  placed 
in  the  holder  of  the  camera  box.  To  test  the  tightness 
of  the  box,  light  a piece  of  paper,  put  it  into  the  pot  and 
cover  it  with  the  sliding  lid.  The  burning  paper  expels 


DAGUERREOTYPE  APPARATUS. 


57 


the  air  from  the  pot,  and  if  it  be  perfectly  tight  you  may 
raise  the  whole  box  by  the  lid. 

VI.  Glass  Funnels. — Are  a necessary  article  to  th© 
Daguerreotypist,  for  filtering  water,  solutions,  &c. 

Fig.  14. 


VII.  Gilding  Stand,— For  nervous  persons  the  gilding 
stand  is  a useful  article.  It  is  adjusted  to  a perfect  level 
by  thumb  screws  placed  in  its  base. 

VIII.  Spirit  lamps.— The  most  useful  and  economical  of 
those  made  are  the  Britania,  as  they  are  less  liable  to 
break  ; and  the  tube  for  the  wick  being  fastened  to  the 
body  by  a screw  renders  it  less  liable  to  get  out  of  order 
•or  explode.  Glass  is  the  cheapest,  and  for  an  amateur 
will  do  very  well,  but  for  a piofessed  artist  the  Baitania 
should  always  be  obtained. 

IX.  Color  Box. — -These  are  generally  found  on  sale 
at  the  shops,  and  usually  contain  eight  colors,  four 
brushes  and  a gold  cup.  The  artist  would,  however,  do 
well  to  obtain,  all  the  colors  mentioned  in  the  last  chap- 
ter of  this  work,  and  be  sure  to  get  the  very  best,  as  there 
are  various  qualities  of  the  same  color,  particularly  car- 
mine, which  is  very  expensive,  and  the  cupidity  of  some 
may  induce  them  to  sell  a poor  article  for  the  sake  ol 
larger  profits. 


58 


DAGUERREOTYPE  APPARATUS. 


Fig.  15. 


Still.— Daguerreotypists  should  always  use  distilled 
water  for  solutions,  and  washing  the  plate,  as  common 
water  holds  various  substances  in  solution  which  detract 
very  materially  from  the  excellence  of  a photograph,  and 
often  gives  much. trouble,  quite  unaccountable  to  many. 
For  the  purpose  of  distilling  water  the  apparatus  repre- 
sented at  Fig.  16  is  both  convenient  and  economical. 

It  may  be  either  wholly  of  good  stout  tin,  or  of  sheet 
iron  tinned  on  the  inside,  and  may  be  used  over  a com- 
mon fire,  or  on  a stove.  A is  the  body,  which  may  be 
made  to  hold  from  one  to  four  gallons  of  water,  which 
is  introduced  at  the  opening  b,  which  is  then  stopped  by 
a cork.  The  tube  d connects  the  neck  a of  the  still  with 
the  worm  tub,  or  refrigerator  B , at  e,  which  is  kept  filled 
with  cold  water  by  means  of  the  funnel  c,  and  drawn  of|7 
as  fast  as  it  becomes  warm  by  the  cock  /.  The  distilled 
water  is  condensed  in  the  worm — and  passes  off  at  the 
cock  6,  under  which  a bottle, or  other  vessel,  should  be 
placed  to  receive  it.  The  different  joints  are  rendered 
tight  by  lute,  or  in  its  absence,  some  stiff  paste  spread 
upon  a piece  of  linen  and  wrapped  around  them  will  an- 


DAGUERREOTYPE  APPARATUS. 


59 


swer  very  well ; an  addition  of  sealing  wax  over  all  will 
make  them  doubly  secure. 


Fig.  16. 


Hygrometer. — This  is  an  instrument  never  to  be 
found,  I believe,  in  the  rooms  of  our  operators,  although  it 
would  be  of  much  use  to  them,  for  ascertaining  the  quan- 
tity of  moisture  floating  about  the  room  ; and  as  it  is 
necessary  to  have  the  atmosphere  as  dry  as  possible  to 
prevent  an  undue  absorption  of  this  watery  vapor  by  the 
iodine  &c.,  and  to  procure  good  pictures, — its  detection 
becomes  a matter  of  importance.  Mason’s  hygrometer, 
manufactured  by  Mr.  Roach  and  sold  by  Mr.  Anthony, 
205  Broadway,  New  York  is  the  best  in  use. 

It  consists  of  two  thermometre  tubes  placed,  side  by 
side,  on  a metalic  scale,  which  is  graduated  equally  to 
both  tubes.  The  bulb  of  one  of  these  tubes  communi- 
cates, by  means  of  a net-work  of  cotton,  with  a glass  re- 
servoir of  water  attached  to  the  back  of  the  scale.  Fig. 
17  and  18  represent  a front  and  back  view  of  this  instru- 
ment. 


60 


DAGUERREOTYPE  APPARATUS. 


Fig.  17  is  the  front  view,  showing  the  tubes  with  their 
respective  scales  ; the  buib  b being  covered  with  the  net- 
work of  cotton  communicating  with  the  reservoir  c fig. 


Fig.  17 


Fig.  18. 


18,  at  d.  The  evaporation  of  the  water  from  this  bulb 
decreases  the  temperature  of  the  mercury  in  the  tube  b 
in  proportion  to  the  dryness  of  the  atmosphere,  and  the 
number  of  degrees  the  tube  b indicates  below  that  of  the 
other,  shows  the  real  state  of  the  atmosphere  in  the  room  ; 
for  instance,  if  b stands  at  forty  and  a at  sixty-one  the 
room  is  in  a state  of  extreme  dryness,  the  difference  of 
twenty-one  degrees  between  the  thermometers — let  a 
stand  at  any  one  point — gives  this  result.  If  they  do  not 
differ,  or  there  is  only  four  or  five  degrees  variation,  the 


i 


DAGUERREOTYPE  APPARATUS. 


61 


atmosphere  of  the  room  is  very  moist  and  means  should 
be  taken  to  expel  the  superfluous  quantity. 

Head  rests. — The  button  head  rest  with  chair  back 
clip,  A fig.  19 — is  much  the  best  for  travelling  artists,  as 
it  can  be  taken  apart,  into  several  pieces  and  closely 
packed,  is  easily  and  firmly  fixed  to  the  back  of  a chair 
by  the  clamp  and  screw  a and  b , and  is  readily  adjusted 
to  the  head,  as  the  buttons  c,c  and  arms  c/,  d are  movable. 

Sometimes  the  button  rest  is  fixed  to  a pole,  which  is 
screwed  to  the  chair  ; but  this  method  is  not  so  secure 
and  solid  as  the  clip  and  occupies  more  room  in  packing. 
Both  the  pole  and  clip,  are  furnished  in  some  cases  with 
brass  band  rests  instead  of  the  button  ; but  the  only  re- 
commendation these  can  possibly  possess  in  the  eyes  of 
any  artist,  is  their  cheapness.  Fig.  19. 

For  a Daguerreotypist  C 

permanently  located  the  in- 
dependent iron  head-rest,  B 
fig.  19,  is  the  most  prefera- 
ble, principally  on  account 
of  its  solidity.  It  is  en- 
tirely of  iron,  is  supported 
by  a tripod  a)  of  the  same 
metal  and  can  be  elevated 
by  means  of  a rod  ( b ) pas- 
sing through  the  body  of 
the  tripod,  to  a height  suf- 
ficient for  a person,  stand 
ing,  to  rest  against. 

Galvanic  Battery.— This  article  is  used  for  the  pur- 
pose of  giving  to  imperfectly  coated  plates  a thicker 
covering  of  silver.  The  form  of  battery  now  most  uni- 


62 


DAGUERREOTYPE  APPARATUS. 


versally  employed  for  electrotype,  and  other  galvanic 
purposes,  is  Smee’s — Fig.  20. 

It  consists  of  a piece  of  pla- 
tinized silver,  A,  on  the  top 
of  which  is  fixed  a beam  of 
wood,  B,  to  prevent  contact 
with  the  silver.  A binding 
screw  C is  soldered  on  to  the 
silver  plate  to  connect  it  with 
any  desired  object,  by  means 
of  the  copper  wire,  e.  A 
plate  of  amalgamated  zinc, 

D,  varying  with  the  fancy  of 
the  operator  from  one  half  to 
the  entire  width  of  the  silver^ 
is  placed  on  each  side  of  the 
wood.  This  is  set  into  a glass 
vessel,  P, — the  extreme  ends 
of  the  wood  resting  upon  its 
edge — on  which  the  acid 
with  which  it  is  charged  has 
no  effect.  The  jar  is  charged  with  sulphuric  acid,  (com- 
mon oil  of  vitriol)  diluted  in  eight  parts  its  bulk  of  water. 
The  zinc  plates  of  the  battery  have  been  amalgamated 
with  quicksilver,  and  when  the  battery  is  set  into  the  jar 
of  acid  there  should  be  no  action  percieved  upon  them 
when  the  poles  F,  G,  are  not  in  contact.  Should  any 
action  be  percieved,  it  indicates  imperfect  amalgamation  • 
this  can  be  easily  remedied  by  pouring  a little  mercury 
upon  them  immediately  after  removing  them  from  the 
acid,  taking  care  to  get  none  upon  the  centre  plate  A. 

Directions  for  use. — A sheet  of  silver  must  be  attached 
to  the  wire  connected  with  the  centre  plate  A of  the 


Fig.  20. 


DAGUERREOTYPE  APPARATUS. 


63 


battery,  and  placed  in  the  silver  solution — prepared  as  di- 
rected below.  The  plate  to  be  silvered  is  first  cleaned 
with  diluted  sulphuric  acid,  and  then  attached  to  the 
wire,  G,  proceeding  from  the  zinc  plates  D,  D,  and 
placed  in  the  silver  solution,  opposite  the  silver  plate  at- 
tached to  the  pole  F,  and  about  half  an  inch  from  it.  A 
slight  effervescence  will  now  be  percieved  from  the  bat- 
tery, and  the  silver  will  be  deposited  upon  the  Daguerreo- 
type plate,  while  at  the  same  time  a portion  of  the  silver 
plate  is  dissolved. 

To  prepare  the  solution  of  silver. — Dissolve  one  ounce 
of  chloride  of  silver  in  a solution  of  two  ounces  of  cya- 
nide of  potassium,  previously  dissolved  in  one  quart  of 
water.  The  oxide  of  silver  may  be  used  instead  of  the 
chloride.  This  solution  is  put  into  a tumbler,  or  other 
vessel. 


This  battery  with  the  necessary  articles  for  using  it 
may  be  obtained  of  E.  Anthony,  205  Broadway,  New 
York  city. 

The  other  articles  required  by  every  operator  may  be 
simply  enumerated,  viz  : 

Sticking,  or  sealing  paper. 

A pair  of  plyers,  or  forceps. 

Porcelain  pans  or  dishes,  for  applying  the  hyposul- 

4 


64 


DAGUERREOTYPE  APPARATUS. 


phite  of  soda  and  washing  after  the  imagine  is  fixed, 
something  in  form  like  fig.  21. 

A support  for  holding  the  plate  while  being  washed, 
like  fig.  22 


Fig.  23. 


Buff  Sticks. — Fig.  23. — These  are  usually  from  one  to 
three  feet  in  length,  and  about  three  inches  wide — some 
think  two  and  a half  sufficient.  The  underside,  which  is 
convex,  is  covered  with  a strip  of  finely  prepared  buck- 
skin, or  velvet,  well  padded  with  cotton  or  tow. 

All  the  articles  enumerated  in  this  chapter  may  be  ob- 
tained, of  the  very  best  quality  and  at  the  most  reasonable 
rates,  of  Mr.  E.  Anthony,  205  Broadway,  New  York. 


CHAP.  VI. 


THE  DAGUERREOTYPE  PROCESS. 


The  process  of  taking  Daguerreotype  pictures  differs 
very  materially  from  all  others  of  the  photographic  art, 
inasmuch  as  the  production  of  the  image  is  effected  upon 
plates  of  copper  coated  with  silver.  The  silver  employ- 
ed should  be  as  pure  as  possible  ; the  thickness  of  the 
plate  is  of  little  consequence,  provided  there  be  sufficient 
silver  to  bear  the  cleaning  and  polishing — is  free  from 
copper  spots,  is  susceptible  of  a high  polish,  an  exquisite- 
ly sensitive  coating  and  a pleasing  tone.  These  qualities 
are  possessed  to  an  eminent  degree  by  the  French  plates. 

Having  already  enumerated  the  various  processes— and 
the  apparatus  necessary  for  the  manipulation,  I will  here 
give  a list  of  the  chemicals  to  be  used,  and  then  proceed 
to  explain  them  more  fully.  The  requisite  chemicals 
are  — 


NITRIC  ACID, 

DRY  IODINE, 

DRYING  POWDER, 
CYANIDE  OF  POTASSIUM 
ROTTENSTONE, 

TRIPOLI, 

CHLORIDE  OF  IODINE 
BROMINE 


ROUGE, 

MERCURY, 

HYPOSULPHITE  OF  SODA, 
CHLORIDE  OF  GOLD  ; OR 
HYPOSULPHITE  OF  GOLD, 
CHLORIDE  OF  SILVER. 

their  compounds,  or  other  accele- 
rating mixtures. 


First  operation. — Cleaning  and  polishing  the  plate.— 
For  this  purpose  the  operator  will  require  the — 


66 


DAGUERREOTYPE  PROCESS. 


Plate  Blocks , 

Plate  Vice 

Spirit  Lamp , 

Polishing  Buffs , 

Nitric  Acid , diluted  in  fifteen  times  its  bulk  of  water 

Galvanic  Battery , to  galvanize  the  plate,  as  directed 
in  the  last  chapter  if  it  is  to  imperfect  to  be  used  without, 
previous  to  cleaning  it. 

Rottenstone , 

Tripoli , which  is  too  often  dispensed  with. 

Rouge , or  lampblack — the  first  being  most  preferable. 
The  English  operators  mix  the  two  together. 

Prepared  cotton  Wool , or  Canton  flannel.  If  the  first 
is  used,  it  should  be  excluded  from  the  dust,  as  it  is  not 
so  easily  cleansed  as  the  latter. 

The  plate  is  secured,  with  its  silver  side  upward,  to  the 
block,  by  the  means  described  on  page  58 — having  pre- 
viously turned  the  edges  backward  all  around.  The 
amount  of  cleaning  a plate  requires,  depends  upon  the 
state  it  is  in.  We  will  suppose  one  in  the  worst  condi- 
tion ; dirty,  scratched,  and  full  of  mercury  spots,  all  of 
which  imperfections  are  more  or  less  to  be  encountered. 
The  mercury  spots  are  to  be  removed  by  burning  the 
plate.  To  do  this  hold  the  plate  over  the  flame  of  a spirit 
lamp,  more  particularly  under  the  mercury  spots,  until 
they  assume  a dull  appearance,  when  the  lamp  is  to  be 
removed,  and  the  plate  allowed  to  cool,  after  which  it  is 
attached  to  the  block. 

Place  the  block  upon  the  swivle,  and  hold  it  firmly 
with  the  left  hand;  take  a small  knot  or  pellet  of  cotton, 
or,  if  you  like  it  better,  a small  piece  of  canton  flannel — • 
wet  it  with  a little  diluted  nitric  acid ; then  sift  some  fine- 


DAGUERREOTYPE  PROCESS. 


67 


ly  prepared  rotten  stone — Davie’s,*  if  you  can  get  it — upon 
it,  and  rub  it  over  the  plate  with  a continual  circular  mo- 
tion, till  all  traces  of  the  dirt  and  scratches  are  removed  ; 
then  wipe  off  the  rottenstone  with  a clean  piece  of  cotton, 
adopting,  as  before,  a slight  circular  motion,  at  the  same 
time  wiping  the  edges  of  the  plate.  Even  the  back 
should  not  be  neglected,  but  throughly  cleansed  from  any 
dirt  or  greasy  film  it  may  have  received  from  handling. 

When  this  is  thoroughly  accomplished,  mix  a portion 
of  your  tripoli  with  the  dilute  nitric  acid,  to  the  consist- 
ence of  thick  cream.  Then  take  a pellet  of  cotton  and 
well  polish  the  plate  with  this  mixture,  in  the  same  man- 
ner as  with  the  rottenstone.  Continue  the  process  till, 
on  removing  the  tripoli  with  a clean  pellet,  the  plate  ex- 
hibits a clear,  smooth,  bright  surface,  free  from  all  spots, 
or  scratches.  Any  remains  of  the  acid  on  the  plate  may 
be  entirely  removed  by  sifting  on  it  a little  Drying  pow- 
der, and  then  wiping  it  carefully  off  with  a fine  camels 
hair  brush,  or  duster.  The  finishing  polish  is  now  to  be 
given. 

For  this  purpose  the  rouge — or  a mixture  of  rouge  and 
lamp-black,  in  the  proportion  of  one  part  of  the  former  to 
seven  of  the  latter — is  used.  It  should  be  kept  either  in 
a muslin  bag,  or  wide  mouth  bottle,  over  which  a piece 
of  muslin  is  tied — in  fact,  both  the  rottenstone  and  tripoli 
should  be  preserved  from  the  dust  in  the  same  manner. 
With  a little  of  this  powder  spread  over  the  buff — described 
on  page  60 — the  plate  recieves  its  final  polish  ; the  cir- 
cular motion  is  changed  for  a straight  one  across  the  plate, 
which,  if  intended  for  a portrait,  should  be  buffed  the 
narrow  way  ; but  if,  for  a landscape  or  view  of  a house, 
the  length  way  of  the  plate. 


♦ Sold  by  E.  Anthony. 


68 


DAGUERREOTYPE  PROCESS. 


The  operation  of  cleaning  the  plate  at  first  appears 
difficult  and  tedious,  and  many  have  been  deterred  from 
attempting  this  interesting  art  on  that  account ; but,  in 
reality,  it  is  more  simple  in  practice  than  in  description, 
and  with  a little  patience  and  observation,  all  difficulties 
are  easily  overcome.  Great  care  must  be  taken  to  keep 
the  buff  free  from  all  extraneous  matter,  and  perfectly 
dry,  and  when  not  in  use  it  should  be  wrapped  up  in 
tissue  paper,  or  placed  in  a tight  box. 

The  plate  should  be  buffed  immediately  before  the 
sensitive  coating  is  given  ; particles  of  dust  are  thus 
effectually  removed  ; the  temperature  of  the  plate  is  also 
increased  by  the  friction,  and  the  required  tint  more 
readily  obtained. 

Second  operation. — Applying  the  sensitive  coating. — 
The  apparatus  and  chemicals  required,  are  an 

Iodine  box — see  jig.  14  page  53. 

Bromine  box — similar  to  the  iodine  box,  but  a trifle 
deeper. 

Dry  Iodine. 

Bromine,  or  a compound  of  Bromine  and  Chloride  of 
Iodine,  or  other  sensitive  mixture. 

Most  of  our  best  operators  use  the  compound  Bromine 
and  Chloride  of  Iodine.  In  the  early  days  of  the  Da- 
guerreotype, Iodine  alone  was  used  in  preparing  the  plate, 
and  although  it  still  plays  a very  important  part,  other  pre- 
parations, called  accelerating  liquids,  quickstuff,  &c., 
are  used,  and  the  discovery  of  which  has  alone  ensured 
the  application  of  the  Daguerreotype  successfully  to  por- 
trait taking — for  when  first  introduced  among  us  it  took 
from  five  to  ten  minutes  to  produce  a tolerable  good 
view,  while  now  but  the  fraction  of  a minute  is  required 
to  obtain  an  accurate  likeness. 


DAGUERREOTYPE  PROCESS. 


69 


To  iodize  the  plate  perfectly  it  must  be  placed  over  the 
iodine  vapor  immediately  after  buffing.  Scatter  from  a 
sixteenth  to  the  eighth  of  an  ounce  of  dry  iodine  over  the 
bottom  of  your  coating  box,  and  slightly  cover  it  with 
cotton  wool.  The  plate  is  then  dropped  into  the  frame 
bjfig.  14,  with  its  silvered  surface  downward,  and  thrust 
under  the  lid  h.  The  bright  surface  of  the  plate  is 
soon  coated  with  a film  of  iodine  of  a fine  yellow  color ; 
it  is  then  removed  and  placed  over  the  accelerating 
solution.  It  is  not  absolutely  necessary  to  perform  this 
operation  in  the  dark,  although  a bright  light  should  be 
avoided.  Not  so  the  next  j>art  of  the  process,  viz;  giv- 
ing the  plate  its  extreme  sensitiveness,  or  coating  with  the 
accelerating  liquids.  In  this  great  caution  should  be  used 
to  prevent  the  slightest  ray  of  light  impringing  directly  on 
the  plate,  and  in  examining  the  color  reflected  light 
should  always  be  used.  A convient  method  of  examin- 
ing the  plate,  is  to  make  a small  hole  in  the  partition  of 
the  closet  in  which  you  coat,  and  cover  it  with  a piece 
of  tissue  paper  ; by  quickly  turning  the  plate  so  that  the  <• 
paper  is  i effected  upon  it  the  color  is  very  distinctly 
shown.  Most  of  our  operators  are  not  so  particular  in 
this  respect  as  they  should  be. 

Accelerating  liquids. — Of  these  there  are  several 
kinds,  which  differ  both  in  composition  and  action — some 
acting  very  quickly,  others  giving  a finer  tone  to  the  pic- 
ture although  they  are  not  so  expeditious  in  there  opera- 
tions; or  in  other  words,  not  so  sensitive  to  the  action  of 
light.  These  are  adopted  by  Daguerreotypists  accord- 
ing to  their  tastes  and  predjudices.  They  are  all  applied 
in  the  same  way  as  the  coating  of  iodine.  The  following 
are  the  best. 

Bromine  water — -This  solution  is  much  used  in  France > 


70 


DAGUERREOTYPE  PROCESS. 


and,  I shall  therefore  give  its  preparation,  and  the  method 
of  using  it,  in  the  words  of  M.  Figeau.  u Put  into  a 
bottle  of  pure  water,  a large  excess  of  bromine  ; shake 
the  mixture  well,  and  before  using  it,  let  all  the  bromine 
be  taken  up.  An  ascertained  quantity  of  this  saturated 
water  is  then  diluted  in  a given  quantity  of  distilled  water, 
which  gives  a solution  of  bromine  that  is  always  identi- 
cal. v M.  Figeau  recommends  one  part  of  the  saturated 
solution  to  thirty  parts  its  bulk  of  water  ; but  M.  Lesebour 
finds  it  more  manageable  if  diluted  with  forty  times.  In 
case  pure  distilled,  or  rain  water  cannot  be  procured,  a 
few  drops  of  nitr'c  acid— say  six  to  the  quart — should  be 
added  to  the  common  water. 

Put  into  the  bromine  box  a given  quantity  of  this  solu- 
tion, sufficient  to  well  cover  the  bottom  ; the  plate,  having 
been  iodized  to  a deep  yellow,  is  placed  over  it;  the  time 
the  plate  should  be  exposed  must  be  ascertained  by  mak- 
ing a few  trials  ; it  averages  from  twelve  to  forty  seconds. 
When  once  ascertained,  it  is  the  same  for  any  number  ot 
plates,  as  the  solution,  which  of  course  would  become 
weaker  and  weaker,  is  changed  after  every  operation,  the 
same  quantity  being  always  put  into  the  pot. 

Chloride  of  Iodine. — This  is  prepared  by  introducing 
chlorine  gass  into  a glass  vessel  containing  iodine  ; the 
iodine  is  liquified,  and  the  above  named  compound  is  the 
result.  Operators  need  not,  however,  be  at  the  trouble 
and  expense  of  preparing  it,  as  it  can  be  obtained  prefectly 
pure  of  Mr.  Anthony,  205  Broadway,  N.  Y.,  as  also 
all  of  the  chemicals  herein  enumerated.  The  compound  is 
diluted  with  distilled  water,  and  the  plate  submitted  to  its 
action  till  it  is  of  a rose  color.  Chloride  of  iodine  alone, 
is  seldom  if  ever  used  now  by  American  operators,  as  ii 
does  not  sufficiently  come  up  to  their  locomotive  princi 


0 


DAGUERREOTYPE  PROCESS. 


71 


pie  of  progression.  The  next  is  also  eschewed  by  the 
majority,  although  many  of  our  best  artists  use  no  other, 
on  account  of  the  very  fine  tone  it  gives  to  pictures. 

Bromide  of  Iodine. — This  is  a compound  of  bromine 
and  chloride  of  iodine.  In  mixing  it,  much  depends  upon 
the  strength  of  the  ingredients;  an  equal  portion  of  each 
being  generally  used.  Perhaps  the  best  method  of  pre- 
paring it,  is  to  make  a solution  in  alcohol  of  half  an 
ounce  of  chloride  of  iodine,  and  add  the  bromine  drop 
by  drop,  until  the  mixture  becomes  of  a dark  red  color; 
then  dilute  with  distilled  water,  till  it  assumes  a bright 
yellow.  Put  about  half  an  ounce  of  this  compound  in- 
to the  pot,  and  coat  over  it  to  a violet  color,  change  the 
solution  when  it  becomes  too  weak  to  produce  the  de- 
sired effect. 

Another. — Mix  half  an  ounce  of  bromine  with  one 
ounce  of  chloride  of  iodine,  add  two  quarts  pure  distil- 
led water,  shake  it  well  and  let  it  stand  for  twelve  hours  ; 
then  add  twenty-five  drops  of  muriatic  acid,  and  let  it 
istand  another  twelve  hours,  occasionally  shaking  it  up 
well.  Dilute  six  parts  of  this  solution  in  sixteen  of 
water.  Coat  over  dry  iodine  to  a deep  yellow,  then 
over  the  sensitive  to  a deep  rose  color — approaching 
purple — then  back,  over  dry  iodine  from  four  to  eight 
seconds. 

Roach's  Tripple  Compound. — This  is  one  of  the  very 
best  sensitive  solutions,  and  is  very  popular  among  Da- 
guerreotypists.  To  use  this,  take  one  part  in  weight,  say 
one  drachm,  of  the  compound  and  dilute  it  with  twelve 
of  water  ; coat  over  dry  iodine  to  yellow,  then  over  the 
compound  to  a rosy  red.  The  effect  in  the  camera  is 
quick,  and  produces  a picture  of  a fine  white  tone. 

Gurney's  Sensitive. — This  is  another  preparation  of 

4* 


72 


DAGUERREOTYPE  PROCESS. 


bromine,  and  gives  a fine  tone.  To  two  parts  of  water 
add  one  of  the  sensitive,  and  put  just  sufficient  in  the  box 
to  cover  the  bottom,  or  enable  you  to  coat  in  from  eight 
to  ten  seconds.  Coat  over  dry  iodine  to  a dark  yellow, 
and  over  the  quick  till  you  see  a good  change,  then  back 
Over  the  dry  iodine  from  two  to  three  seconds. 

Bromide  of  Lime , or  Dry  Sensitive. — This  is  a com- 
pound but  recently  introduced,  and  is  becoming  some- 
what of  a favorite,  owing  principally  to  the  slight  trouble 
it  gives  in  its  preparation,  and  the  tone  it  imparts  to  the 
picture.  To  prepare  it,  fill  your  jar  about  half  or  quar- 
ter full  of  dry  slacked  lime,  then  drop  into  it  bromine, 
till  it  becomes  a bright  orange  red.  The  plate  is  gene- 
rally coated  over  this  compound,  after  the  iodine  coating 
to  yellow,  to  a violet,  or  plum  color  ; but  it  will  work 
well  under  any  circumstances,  the  color  being  of  little 
consequence,  if  coated  from  thirty  to  ninety  seconds,  ac- 
cording to  its  strength. 

Mead's  Accelerator, — I merely  mention  this  as  being 
in  the  market,  not  knowing  any  thing  in  regard  to  its 
merits.  The  directions  given  for  its  use  are  as  follows  : 
Mix  one-third  of  a bottle  with  a wine  glass  full  of  water, 
coat  the  plate  over  dry  iodine  to  a dark  gold  color,  then 
over  the  accelerator  to  a violet, then  back  overdry  iodine, 
or  chloride  of  iodine,  from  three  to  five  seconds. 

Chloride  of  Bromine. — M.  Bissou,  a French  experi- 
mentalist, has  found  that  bromine  associated  with  chlo- 
rine, prepared  in  a similar  manner  to  chloride  of  iodine, 
already  described,  a solution  of  bromine  being  substituted 
for  the  iodine,  is  a very  sensitive  solution  ; by  means  of 
it  daguerreotype  proofs  are  obtained  in  half  a second,  and 
thus  very  fugitive  subjects  are  represented,  making  it  the 
Very  best  compound  for  taking  children.  So  quick  is  its 


DAGUERREOTYPE  PROCESS.  73 

operation,  that  even  persons  or  animals  may  be  taken  in 
the  act  of  walking. 

Hungarian  Liquid.—  This,  I believe,  has  never  been 
used  here,  or  imported  into  this  country,  and  the  compo- 
sition of  it  is  not  generally  known,  even  in  Europe, 
where  it  has  taken  precedence  of  all  others.  It  acts 
quickly  and  with  considerable  certainty.  It  is  used  by 
diluting  it  with  from  ten  to  fifteen  times  its  bulk  of  water, 
putting  a sufficient  quantity  into  the  jar  to  cover  the 
bottom.  The  plate  being  previously  iodized  to  a light 
yellow,  is  submitted  to  this  mixture  till  it  assumes  a 
light  rose  tint. 

Bromine  and  Fluoric  Acid , in  combination,  are  used  by 
some  Daguerrean  artists  as  a sensitive,  but  any  of  the 
above  compounds  are  better ; besides  this,  the  fluoric 
acid  is  a dangerous  poison,  and  the  quick  made  from  it 
will  not  repay  the  risk  to  the  health  in  using  it. 

As  I have  before  said,  great  caution  should  be  observ- 
ed in  examining  the  color  of  the  plate,  even  by  the  feeble 
light  allowed,  which,  when  attained,  must  be  imme- 
diately placed  in  the  holder  belonging  to  the  camera  and 
covered  with  the  dark  slide.  You  then  pass  to  the 

Third  Operation. — Submitting  the  Plate  to  the  ac- 
tion of  Light  in  the  Camera. — -Experience  alone  must 
guide  the  operator  as  to  the  time  the  plate  should  be  ex- 
posed to  the  influence  of  the  light ; this  being  dependent 
on  a variety  of  circumstances,  as  clearness  of  the  atmo- 
sphere— and  here,  a reference  to  the  hygrometer  will  be 
of  advantage — time  of  day,  object  to  be  taken,  and  the 
degree  of  sensitiveness  imparted  to  the  plate  by  the  quick- 
stuff.  As  I have  before  said,  the  artist  should  be  care- 
ful to  see  that  the  interior  of  the  camera  is  clean  and  free 
from  dust,  as  the  small  particles  flying  about,  or  set  in 


74 


DAGUERREOTYPE  PROCESS. 


motion  by  the  sliding  of  the  holder  into  the  box,  attach 
themselves  to  the  plate,  and  cause  the  little  black  spots, 
by  which  an  otherwise  good  picture  is  frequently  spoiled. 
Care  should  also  be  taken  in  withdrawing  the  dark  slide, 
in  front  of  the  plate,  from  the  holder,  as  the  same  effect 
may  be  produced  by  a too  hasty  movement.  The  lens  is 
the  last  thing  to  be  uncovered,  by  withdrawing  the  cap 
c.  fig.  5.,  which  should  not  be  done  until  you  have  placed 
the  sitter  in  the  most  desirable  position.  When,  accord- 
ing to  the  judgment  and  experience  of  the  operator,  the 
plate  has  remained  long  enough  to  receive  a good  inpres- 
sion,  the  cap  is  replaced  over  the  lens,  and  the  dark  slide 
over  the  plate,  which  is  then  removed  from  the  camera. 

Daguerreotypists  generally  mark  time  by  their  watches, 
arriving  at  the  nearest  possible  period  for  producing  a 
good  picture  by  making  several  trials.  As  a ready  meth- 
od of  marking  short  intervals  of  time  is,  however,  a very 
important  consideration,  and  as  any  instrument  which  will 
enable  an  artist  to  arrive  at  the  exact  period,  must  be  an 
improvement,  and  worthy  of  universal  adoption,  I will  here 
describe  one  invented  by  Mr.  Constable  of  England,  which 
he  calls  a 

Sand  Clock , or  Time  Keeper. — u It  consists  of  a glass 
tube,  about  twelve  inches  long  by  one  in  diameter,  half 
filled  with  fine  sand,  similar  to  that  used  for  the  ordinary 
minute  glasses,  and,  like  them,  it  has  a diaphram,  with 
a small  hole  in  the  centre  through  which  the  sand  runs. 
The  tube  is  attached  to  a board  which  revolves  on  a centre 
pin  ; on  the  side  is  a graduated  scale,  divided  into  half 
seconds  ; the  tube  is  also  provided  with  a moveable  in- 
dex. This  instrument  is  attached,  in  a conspicuous 
place,  to  the  wall.  The  glass  tube  being  revolved  on  its 
centre,  the  index  is  set  to  the  number  of  half  seconds  re 


DAGUERREOTYPE  PROCESS. 


75 


quired,  and  the  sand  running  down,  the  required  time  is 
marked  without  the  possibility  of  error.  In  ^practice  it 
will  be  found  to  be  a far  more  convenient  instrument  for 
the  purpose  than  either  a clock  or  a seconds  watch,  and 
is  applicable  both  for  the  camera  and  mercury  box.” 

If  the  artist  finds  it  desirable  or  necessary  to  take  the 
object  to  be  copied  in  its  right  position,  that  is  reverse  the 
image  on  the  spectrum,  he  can  do  so  by  attaching  a mir- 
ror (which  may  be  had  of  Mr.  Anthony,  or  Mr.  Roach) 
to  the  camera  tube,  at  an  angle  of  forty-five  degrees. 

If,  after  taking  the  plate  from  the  camera,  it  be  ex- 
amined, no  picture  will  yet  be  visible,  but  this  is  brought 
about  by  the 

Fourth  Process. — Bringing  out  the  Picture,  or  render- 
ing  it  Visible. — We  now  come  to  the  use  of  the  mercury 
bath,  Fig.  13.  To  the  bath  a thermometer  is  attached, 
to  indicate  the  proper  degree  of  heat  required,  which 
should  never  be  raised  above  170°  Fahrenheit.  The 
plate  maybe  put  into  one  of  the  frames  (see  Fig.  13,) 
over  the  mercury,  face  downwards,  and  examined  from 
time  to  time,  by  simply  raising  it  with  the  fingers,  or  a 
pair  of  plyers.  This  operation,  as  well  as  the  others, 
should  take  place  in  the  dark  closet.  Fig.  24. 
Sometimes,  to  prevent  the  necessity 
of  raising  the  plate,  an  additional 
cover  or  top  is  made  use  of.  It  con- 
sists of  a box  fitted  closely  to  the 
inner  rim  of  the  bath,  and  having 
an  inclined  top  (a,  Fig.  24.)  The  top 
is  cut  through  and  fitted  with  frames 
for  each  size  of  plate,  like  those 
already  described,  and  in  the  back 
is  a piece  of  glass  (b,)  through  which  to  view  the  progress 


76 


DAGUERREOTYPE  PROCESS. 


of  mercurialization,  and  an  additional  piece  (c,)  on  one 
side,  colored  yellow,  to  admit  the  light.  The  outline 
only  of  the  top  is  here  given,  in  order  to  show  every 
portion  of  it  at  one  view. 

The  picture,  being  fully  developed,  is  now  taken  out 
and  examined;  it  must  not,  however,  be  exposed  to  too 
strong  a light.  If  any  glaring  defects  be  perceived,  it  is 
better  not  to  proceed  with  it,  but  place  it  on  one  side  to 
be  re-polished  ; if,  on  the  contrary,  it  appears  perfect,  you 
may  advance  to  the 

Fifth  Operation. — Fixing  the  Image  so  that  the  light 
can  no  longer  act  upon  xt. — The  following  articles  are 
required  for  this  purpose  : 

Two  or  three  porcelain  or  glass  dishes,  in  form,  some- 
thing like  fig.  21. 

A plate  support,  fig.  22.  Few,  I believe}  now  make 
use  of  this,  although  it  is  a very  convenient  article. 

Hyposulphite  of  Soda , 

A pair  of  Flyers. 

In  Europe,  they  also  use  a drying  apparatus,  Fig 
25,  but  this,  like  the  plate  support, 
is  a matter  of  little  consequence,  and 
may  be  dispensed  with.  I will, 
however,  describe  it,  for  the  benefit 
of  those  who  may  wish  to  use  it. 

A vessel  made  of  copper  or  brass, 
tinned  inside,  and  large  enough  to 
take  in  the  largest  plate,  but  not 
more  than  half  an  inch  wide,  is  the 
most  convenient.  It  must  be  kept  perfectly  clean.  Hot 
distilled  water  is  poured  into  it,  and  the  temperature 
kept  up  by  a spirit  lamp. 

Hyposulphite  of  Soda . — Having  made  a solution  of 


Fig.  25. 


DAGUERREOTYPE  PROCESS. 


77 


hyposulphite  of  soda,  and  well  filtered  it — the  strength 
is  immaterial  : about  half  an  ounce  of  the  salt  to  a pint 
of  distilled  water  is  sufficient — pour  it  into  one  of  the 
porcelain  dishes,  put  into  another  plain,  and  into  a third 
distilled  water.  Immerse  the  plate  with  its  face  down- 
wards into  the  hyposulphite,  and  the  whole  of  the  sen- 
sitive is  removed,  and  the  light  has  no  farther  action  up- 
on it ; it  is  then  to  be  removed  from  the  hyposulphite 
and  plunged  into  the  plain  water,  or  placed  upon  the 
support,  fig.  22,  and  the  water  poured  over  it.  It  is 
then  washed  in  a similar  manner  with  the  distilled  water 
and  well  examined,  to  see  that  not  the  slightest  particle 
of  dust  rests  on  the  suface.  The  next  step  is  to  dry 
it. 

This  may  be  readily  accomplished  by  holding  the  plate 
with  your  plyers,and  pouring  distilled  water  over  it — if  it 
is  hot,  so  much  the  better.  Apply  the  spirit  lamp  to  the 
back,  at  the  corner  held  by  the  plyers,  at  the  same  time 
facilitating  the  operation  with  the  breath  ; pass  the  lamp 
gradually  downwards,  finishing  at  the  extreme  corner. 
The  last  drop  may  now  be  removed  by  a little  bibulous 
paper.  A single  drop,  even,  of  distilled  water  allowed  to 
dry  on  any  part  of  the  surface,  is  certain  to  leave  a stain 
which  no  after  process  can  remove. 

To  illustrate  the  necessity  for  having  perfectly  clean 
water,  and  free  from  all  foreign  matter — only  to  be  avoid- 
ed by  using  that  which  is  distilled — in  these  processes, 
I will  relate  a little  anecdote. 

An  operator  in  this  city  (New  York)  frequently  made 
complaint  to  me,  that  his  plates  were  occasionally  very 
bad;  coming  out  all  over  in  little  black  and  white  spots, 
and  spoiling  many  very  good  pictures,  regretting  at  the 
same  time  that  perfect  plates  were  not  made,  for  he  had 


78 


DAGUERREOTYPE,  PROCESS. 


lost  many  customers  in  consequence  of  these  defects. 
These  complaints  being  somewhat  periodical,  I suggested 
that  the  fault  might  be  in  the  hyposulphite,  or  chloride 
of  gold  solutions,  or  particles  of  dust  floating  about  in 
the  room,  and  not  in  the  plate. 

A few  days  after  he  stated,  that  his  plates  haying  served 
him  again  in  the  same  way,  he  procured  a fresh  supply 
of  hyposulphite  of  soda  and  chloride  of  gold,  but  after 
applying  them  the  result  was  no  better.  He  then,  by 
my  advice,  thoroughly  cleaned  his  wash  dishes,  bottles 
and  water  pail , made  fresh  solutions  and  had  no  further 
trouble,  becoming  satisfied  that  the  plates  suffered  an 
undue  share  of  censure. 

Sixth  Process. — Gilding  the  Picture. — This  is  an  im- 
provement the  honor  of  which  is  due  to  M.  Figeau,  and 
may  take  place  either  before  the  drying  process,  or  at  any 
subsequent  period ; but  it  improves  the  picture  so  mate- 
rially that  it  should  never  be  neglected.  The  articles  ne- 
cessary for  gilding  are — 

A Pair  of  Plyars ; or  a Gilding  Stand  and  Chloride  of 

Gold ; or  Hyposulphite  of  Gold. 

The  latter  is  imported  by  Mr.  E.  Anthony,  205  Broad- 
way, New  York,  and  is  decidedly  the  best  article  for  the 
purpose.  One  bottle  simply  dissolved  in  a quart  of  water 
will  make  a very  strong  solution,  and  gives  a richness  to 
the  pictuie  impossible  to  be  obtained  from  the  chloride 
of  gold.  The  process  is  precisely  similar  to  that  des- 
cribed below  for  chloride  of  gold,  taking  care  to  cease 
the  moment  the  bubbles  are  well  defined  over  the  surface  of 
the  plate.  Many  Daguerreotypists,  after  a superficial 
trial,  discard  the  hyposulphite  of  gold  as  inferior  ; but  I 
have  no  hesitation  in  asserting  that  the  fault  lies  with 
themselves ; for  in  every  case  within  my  knowledge, 


DAGUERREOTYPE  PROCESS. 


79 


where  its  use  has  been  persisted  in  until  the  correct  me® 
thod  has  been  ascertained,  and  the  nature  of  the  gilding 
has  become  familiar,  it  is  always  preferred.  In  illustra- 
tion of  this  fact  I will  relate  an  anecdote : 

A gentleman  to  whom  it  had  been  recommended,  pur- 
chased a bottle,  and  after  making  one  or  two  trials  of  it, 
wrote  to  his  correspondent — Send  me  two  bottles  ol 
chloride  of  gold,  for  I want  no  more  of  the  hyposulphite; 
it  is  good  for  nothing.”  A few  weeks  after  he  sent  for 
three  bottles  of  the  condemned  article,  confessing  that  he 
had  found  fault  unnecessarily ; for,  that  since  he  had  be- 
come familiar  to  its  use,  he  must  acknowledge  its  supe- 
riority, and  would  use  no  other  gilding. 

The  Solution  of  Chloride  of  Gold  is  prepared  by  dis- 
solving in  a pint  of  distilled  water,  fifteen  grains  of  chrys- 
talized  chloride  of  gold.  This  solution  will  be  of  a yel- 
low tint.  In  another  pint  of  distilled  water  dissolve  fifty- 
five  grains  of  hyposulphite  of  soda ; pour  gradually,  in 
very  small  quantities,  the  gold  into  the  hyposulphite  of 
soda,  stirring  the  solution  at  intervals ; when  finished  the 
mixture  should  be  nearly  colorless. 

Place  the  plate  on  its  stand,  or  hold  it  in  the  plyers,  in 
a perfectly  horrizontal  position — silver  surface  upward- 
having  previously  slightly  turned  up  the  edges,  so  that 
it  may  hold  the  solution.  Wet  the  surface  with  alcohol, 
letting  any  superfluous  quantity  drain  off.  The  alcohol 
is  of  no  farther  use  than  to  facilitate  the  flowing  of  the 
gold  mixture  over  the  surface.  Now  pour  on,  carefully, 
as  much  of  the  preparation  of  gold  as  will  remain  on  the 
plate.  The  under  part  of  the  plate  i^  then  to  be  heated 
as  uniformly  as  possible  with  the  spirit  lamp  ; small  bub- 
bles will  arise,  and  the  appearance  of  the  portrait  or 
view  very  sensibly  improved.  The  process  must  not  be 


80 


DAGUERREOTYPE  PROCESg. 


carried  too  far,  but  as  soon  as  the  bubbles  disappear  the 
lamp  should  be  removed,  and  the  plate  immersed  in  dis- 
tilled water,  and  dried  as  before  directed. 

7th.  Coloring  the  Picture. — >1  very  much  doubt 
the  propriety  of  coloring  the  daguerreotypes,  as  I am  of 
opinion,  that  they  are  little,  if  any,  improved  by  the 
operation,  at  least  as  it  is  now  generally  practised. 

There  are  several  things  requisite  in  an  artist  to  enable 
him  to  color  a head,  or  even  a landscape  effectively,  and 
correctly,  and  I must  say  that  very  few  of  these  are  pos- 
sessed by  our  operators  as  a class.  These  requirements 
are,  a talent  for  drawing — -taste — due  discrimination  of 
effect — strict  observance  of  the  characteristic  points  in 
the  features  of  the  subject — -quick  perception  of  the  beau- 
tiful, and  a knowledge  of  the  art  of  mixing  colors,  and 
blending  tints. 

The  method  now  pursued,  I do  not  hesitate  to  say,  and 
have  no  fears  of  being  contradicted  by  those  capable  of 
critisizing,  is  on  the  whole  ruinous  to  any  daguerreotype, 
and  to  a perfect  one  absolutely  disgusting.  The  day  may 
come  when  accurate  coloring  may  be  obtained  in  the  ca- 
mera. Until  that  day,  if  we  cannot  lead  taste  into  the 
right  channel,  we  will  endeavor  to  give  such  instructions 
that  Daguerreotypists  may  proceed  with  this  part  of  their 
work  with  a better  understanding  of  the  principles  in- 
volved. For  this  purpose  I have  prepared  a short  chap- 
ter on  the  art  of  coloring,  which  may  be  found  in  the 
latter  part  of  this  volume. 

To  Preserve  Daguerreotypes  they  must  be  well  sealed 
and  secured  in  a case,  or  frame.  These,  of  course,  are 
selected  according  to  the  taste  of  the  customer,  the  prin- 
cipal requisite  being  good  glass.  Most  Daguerreotypists 
prefer  the  white  French  plate  glass — and  many  think, 


DAGUERREOTYPE  FROCESS. 


81 


very  erroneously,  that  none  is  good  unless  it  is  thick— 
but  the  great  desideratum  is  clearness  and  freedom  from 
blisters;  even  glass  a little  tinged  with  green  or  yellow 
is  to  be  preferred  to  the  French  plate  when  cloudy  or 
blistered,  and  there  is  very  little  of  it  comes  to  this  mar- 
ket that  is  not  so.  It  is  to  be  hoped  that  some  of  out 
glass  factories  will  manage  to  manufacture  an  article  ex- 
pressly for  daguerreotypes  ; and  I would  recommend  them 
to  do  so,  for  they  would  find  it  quite  an  item  of  profit 
annually. 

Before  enclosing  the  picture  in  the  case  you  should  be 
careful  to  wipe  the  glass  perfectly  clean,  and  blow  from 
the  picture  any  particles  of  dust  which  may  have  fallen 
upon  it.  Then  take  strips  of  sticking  paper,  about  half 
or  three  quarters  of  an  inch  wide,  and  firmly  and  neatly 
secure  it  to  the  glass,  having  first  placed  a “ mat’’  be- 
tween them  to  prevent  the  plate  being  scratched  by  the 
glass. 

To  make  Sealing  Paper. — Dissolve  one  ounce  of 
gum  arabic,  and  a quarter  of  an  ounce  of  gum  tragicanth 
in  a pint  of  water;  then  add  a teaspoonful  of  benzoin. 
Spread  this  evenly  on  one  side  of  good  stout  tissue  paper ; 
let  it  dry,  and  then  cut  it  up  in  stripes,  about  half  or 
three  quarters  of  an  inch  wide,  for  use.  If  it  becomes 
too  soft  for  summer  use,  add  gum  arabic;  if  too  hard  and 
cracking,  add  benzoin  or  gum  tragicanth  ; if  it  gets  too 
thick,  add  water. 

Colored  Daguerreotypes  on  Copper. — To  effect  this, 
take  a polished  plate  of  copper  and  expose  it  to  the  va- 
por of  iodine,  or  bromine,  or  the  two  substances  com- 
bined ; or  either  of  them  in  combination  with  chlorine. 
This  gives  a sensitive  coating  to  the  surface  of  the  plate, 
which  mav  then  be  submitted  to  the  action  of  light  in  the 


82 


DAGUERREOTYPE  PROCESS. 


camera.  After  remaining  a sufficient  time  in  the  camera, 
the  plate  is  taken  out  and  exposed  to  the  vapor  of  sul- 
phuretted hydrogen.  This  vapor  produces  various  colors 
on  the  plate,  according  to  the  intensity  with  which  the 
light  has  acted  on  the  different  parts ; consequently  a co- 
lored photographic  picture  is  obtained.  No  further  pro- 
cess is  necessary  as  exposure  to  light  does  not  effect  the 
picture. 

By  this  process  we  have  an  advantage  over  the  silvered 
plate,  both  in  economy,  and  in  the  production  of  the 
picture  in  colors. 

INSTANTANTANEOUS  FICTURES  BY  MEANS  OF  GALVANISM. 

—It  will  be  seen  by  the  following  valuable  communi- 
cation that  galvanism  can  be  successfully  applied  in 
producing  pictures  instantly  ; a process  of  great  import- 
ance in  securing  the  likeness  of  a child,  or  in  taking 
views  of  animated  nature.  Colonel  Whitney  informs 
me  that  he  once  took  a view  of  the  steeple  of  the  St. 
Louis  Court  House  after  sundown  by  this  means,  and 
also  secured  the  image  of  a man  in  the  act  of  stepping 
into  a store,  and  before  he  had  time  to  place  his  foot, 
raised  for  that  purpose,  on  the  door  step.  Mr.  Whitney 
is  well  known  as  the  talented  editor  of  the  Sunday 
Morning  news. 

New  York,  January  16,  1849. 

Mr.  H.  H.  Snelling. 

Dear  Sir, — As  you  are  about  publishing  a history  of 
the  Daguerreotype,  and  request  a description  of  my  mode 
of  taking  pictures  instantaneously  by  the  aid  of  galvan- 
ism, I comply  with  great  pleasure. 

In  the  year  1841,  while  practicing  the  art  in  St.  Louis, 
Mo.,  I was  at  times,  during  the  summer,  much  troubled 
with  the  electric  influence  of  the  atmosphere,  especially 


DAGUERREOTYPE  PROCESS. 


83 


on  the  approach  of  a thunder-storm.  At  such  times  I 
found  the  coating  of  my  plates  much  more  sensitive 
than  when  the  atmosphere  was  comparatively  free  from 
the  electric  fluid,  and  the  effect  was  so  irregular  that  no 
calculation  could  counteract  the  difficulty.  This  satis- 
fied me  that  electricity  was  in  some  measure  an  impor- 
tant agent  in  the  chemical  process,  and  it  occurred  to  me 
that  the  element  might  be  turned  to  advantage.  I de- 
termined, therefore,  to  enter  on  a series  of  experiments  to 
test  my  theory.  Finding  it  impossible  to  obtain  an  elec- 
tric machine,  and  unwilling  to  abandon  the  examination, 
it  occurred  to  me,  that  the  galvanic  influence  might  an- 
swer the  same  purpose.  1 therefore  proceeded  to  make 
a galvanic  battery  in  the  following  simple  manner.  I 
obtained  a piece  of  zinc  about  two  inches  long,  one  inch 
wide,  and  an  eighth  of  an  inch  thick.  On  this  I soldered 
a narrow  strip  of  copper,  about  six  inches  long,  the  sol- 
dered end  laid  on  one  side  of  the  zinc,  and  extending  its 
whole  length.  The  battery  was  completed  by  placing 
the  zinc  in  a glass  tumbler,  two-thirds  full  of  dilute  sul- 
phuric acid,  strong  enough  to  produce  a free  action  of 
the  metals.  The  upper  end  of  the  copper  slip  extending 
above  the  tumbler  was  sharpened  to  a point,  and  bent  a 
little  over  the  glass. 

The  method  of  using,  was  thus  : — After  preparing  the 
plate  in  the  usual  manner  and  placing  it  in  the  camera,  in 
such  manner  as  to  expose  the  back  of  the  plate  to  view, 
the  battery  was  prepared  by  placing  the  zinc  in  the  acid, 
and  as  soon  as  the  galvanic  fluid  began  to  traverse  (as 
could  be  known  by  the  effervessence  of  the  acid,  oper- 
ating on  the  zinc  and  copper)  the  cap  of  the  camera  was 
removed,  and  the  plate  exposed  to  the  sitter  ; at  the  same 
instant  the  point  of  the  battery  was  brought  quickly 


84 


DAGUERREOTYPE  PROCESS. 


against  the  back  of  the  plate,  and  the  cap  replaced  in- 
stantly. If  the  plate  is  exposed  more  than  an  instant  after 
the  contact,  the  picture  will  generally  be  found  solarized. 
By  this  process  I have  taken  pictures  of  persons  in  the 
act  of  walking,  and  in  taking  the  pictures  of  infants  and 
young  children  I found  it  very  useful. 

Very  respectfully,  yours, 

Thomas  R.  Whitney. 

Before  we  conclude  this  part  of  our  subject,  we  must 
give  a brief  notice  of  a very  remarkable  invention  of  M. 
Martens,  by  which  an  extensive  panoramic  view,  amount- 
ing even  to  an  angle  of  150°,  may  be  taken  by  the  Da- 
guerreotype. The  object-glass  is  fixed  upon  a pivot, 
and  put  in  motion  by  an  endless  screw,  so  as  to  present  a 
narrow  aperture  in  front  of  it,  in  succession,  to  the  land- 
scape or  group  of  figures  to  be  copied.  When  the  long 
iodized  plate,  curved  cylindrically,  is  placed  in  the  appa- 
ratus, the  cover  is  taken  from  the  object-glass,  and  the 
handle  is  turned  slowly  and  steadily  round;  slowly  when  a 
dark  object  is  in  the  field,  and  quickly  when  a luminous 
object  is  there.  By  means  of  a common  achromatic  ob- 
ject-glass, one  inch  and  four-tenths  in  diameter,  views 
have  been  produced  thirty-eight  centimetres  long  and 
twelve  wide ; and  these  views,  one  of  which  we  have 
seen,  are  as  perfect  as  if  they  had  been  taken  by  the  com- 


mon camera. 


CHAP.  VIL 


PAPER  DAGUERREOTYPES. ETCHING  DAGUERREOTYPES. 

Mr.  Hunt  describes  a process,  discovered  by  himself 
by  which  the  Daguerrean  art  may  be  applied  to  paper. 
His  description  is  as  follows 

u Placing  the  paper  on  some  hard  body,  wash  it  over 
on  one  side — by  means  of  a very  soft  camel’s  hair  pen- 
cil—with  a solution  of  sixty  grains  of  bromide  of  potas- 
sium, in  two  fluid  ounces  of  distilled  water,  and  then 
dry  it  quickly  by  the  fire.  Being  dry,  it  is  again  washed 
over  with  the  same  solution,  and  dried  as  before.  A so- 
lution of  nitrate  of  silver — one  hundred  grains  to  an 
ounce  of  distilled  water— is  to  be  applied  over  the  same 
surface,  and  the  paper  quickly  dried  in  the  dark.  In 
this  state  the  papers  may  be  kept  for  use. 

u When  they  are  required,  the  above  solution  of  sil- 
ver is  to  be  plentifully  applied,  and  the  paper  placed  wet 
in  the  camera,  the  greatest  care  being  taken  lhat  no  day 
light — not  even  the  faintest  gleam — falls  upon  it  until  the 
moment  when  you  are  prepared,  by  removing  the  dark 
slide,  to  permit  the  light,  radiating  from  the  object  you 
wish  to  copy,  to  act  in  producing  the  picture.  After  a 
few  seconds  the  light  must  be  again  shut  off,  and  the 
camera  removed  into  a dark  room.’’  The  necessity  of 
removing  the  camera  is  now  avoided  by  the  use  of  the 
dark  slide,  already  described,  covering  the  picture  in  the 
holder,  which  alone  may  be  removed, —Amer,  Aut . 


86 


PAPER  DAGUERREOTYPES. 


“ It  will  be  found  by  taking  the  paper  from  the  holder, 
that  there  is  but  a very  faint  outline — if  any— yet  visible . 
Place  it  aside,  in  perfect  darkness  until  quite  dry ; then 
place  it  in  the  mercurial  vapor  box  (meaning  bath)  and 
apply  a very  gentle  heat  to  the  bottom.  The  moment 
the  mercury  vaporizes,  the  picture  will  begin  to  develope 
itself.  The  spirit  lamp  must  now  be  removed  for  a short 
time,  and  when  the  action  of  the  mercury  appears  to 
cease,  it  is  to  be  very  carefully  applied  again,  until  a 
well  defined  picture  is  visible.  The  vaporization  must 
then  be  suddenly  stopped,  and  the  photograph  removed 
from  the  box.  The  drawing  will  then  be  very  beautiful 
and  distinct ; but  much  detail  is  still  clouded,  for  the  de- 
velopement  of  which  it  is  only  necessary  to  place  it  in 
the  dark  and  suffer  it  to  remain  undisturbed  for  some 
hours.  There  is  now  an  inexpressible  charm  about  the 
pictures,  equaling  the  delicate  beauty  of  the  daguerreo- 
type  ; but  being  very  susceptible  of  change,  it  must  be 
viewed  by  the  light  of  a taper  only.  The  nitrate  of  sil- 
ver must  now  be  removed  from  the  paper,  by  well  wash- 
ing it  in  soft  water,  to  which  a small  quantity  ef  salt  has 
been  added,  and  it  should  afterwards  be  soaked  in  wa:er 
only.  When  the  picture  has  been  dried,  wash  it  quickly 
over  with  a soft  brush  dipped  in  a warm  solution  of  hy- 
posulphite of  soda,  and  then  wash  it  for  some  time  in 
distilled  water,  in  order  that  all  the  hyposulphite  may  be 
removed.  The  drawing  is  now  fixed  and  we  may  use  it 
to  procure  positive  copies,  (the  original  being  termed  a 
negative,)  many  of  w'hich  may  be  taken  from  one  origi- 
nal.” 

u The  action  of  light  on  this  preparation,  does  indeed 
appear  to  be  instantaneous.  The  exquisite  delicacy  of 
this  preparation  may  be  imagined,  when  I state  that  in 


ETCHING  DAGUERREOTYPES. 


87 


five  seconds  in  the  camera,  I have,  during  sunshine,  ob- 
tained  perfect  pictures,  and  that  when  the  sky  is  over- 
cast, one  minute  is  quite  sufficient  to  produce  a most  de- 
cided effect.’’ 

“ This  very  beautiful  process  is  not  without  its  difficul- 
ties ; and  the  author  cannot  promise  that,  even  with  the 
closest  attention  to  the  above  directions,  annoying  fail- 
ures will  not  occur.  It  often  happens  that  some  acci- 
dental circumstance — generally  a projecting  film  or  a lit- 
tle dust — will  occasion  the  mercurial  vapor  to  act  with 
great  energy  on  one  part  of  the  paper,  and  blacken  it 
before  the  other  portions  are  at  all  effected.  Again,  the 
mercury  will  sometimes  accumulate  along  the  lines  made 
by  the  brush,  and  give  a streaky  appearance  to  the  pic- 
ture, although  these  lines  are  not  at  all  evident  before  the 
mercurial  vapor  was  applied.  (A  brush  sufficiently  large 
— and  they  may  be  easily  obtained — will,  in  a measure, 
prevent  this  difficulty. — Amer  Au.)  I have  stated  that 
the  paper  should  be  placed  wet  in  the  camera  ; the  same 
paper  may  be  used  dry,  which  often  is  a great  conve- 
nience. When  in  the  dry  state  a little  longer  exposure 
is  required  ; and  instead  of  taking  a picture  in  four  or 
five  seconds,  two  or  three  minutes  are  necessary.” 

The  durability  of  daguerreotypes  has  been,  and  is  still, 
doubted  by  many,  but  experiment  has  proved  that  they 
are  more  permanent  than  oil  paintings  or  engravings. 

Etching  Daguerreotypes. — There  are  several  me- 
thods of  accomplishing  this  object;  discovered  and  ap- 
plied by  different  individuals. 

The  first  process  was  published  at  Vienna  by  Dr.  Ber- 
res,  and  consisted  in  covering  the  plate  with  the  mucil- 
age of  gum  arabic,  and  then  immersing  the  plate  in  ni- 
tric acid  of  different  strengths. 


88 


ETCHING  DAGUERREOTYPES. 


Mr.  Figeau,  of  whom  I have  already  spoken,  like- 
wise discovered  a process  for  the  engraving  of  Daguerreo- 
types ; and  founded  on  the  belief  that  the  lights  of  a Da- 
guerreotype plate  consists  of  unaltered  silver,  while  the 
dark  or  shadows  consists  of  mercury  or  an  amalgam  of 
mercury  with  silver.  He  finds  that  a compound  acid, 
consisting  of  a mixture  of  nitric,  nitrous,  and  muriatic 
acids,  or  of  nitric  mixed  with  nitrate  of  potass  and  com- 
mon salt,  has  the  property  of  attacking  the  silver  in  pres- 
ence of  the  mercury  without  acting  upon  the  latter. 
Bi-chloride  of  copper  answers  the  purpose  also,  but  less 
completely. 

u When  the  clean  surface  of  a Daguerreotype  plate  is 
exposed  to  the  action  of  this  menstruum,  particularly  if 
warm,  the  white  parts,  or  lights  are  not  altered,  but  the 
dark  parts  are  attacked,  and  chloride  of  silver  is  formed, 
of  which  an  insoluable  coating  is  soon  deposited,  and  the 
action  of  the  acid  soon  ceases.  This  coat  of  chloride  of 
silver  is  removed  by  a solution  of  ammonia,  and  then 
the  acid  applied  again,  and  so  on,  until  the  depth  of 
biting  in  is  sufficient.  However,  it  is  not  possible,  by  re- 
peating this  process,  to  get  a sufficient  force  of  impres- 
sion ; a second  operation  is  required,  in  order  to  obtain 
such  a depth  as  will  hold  the  ink,  to  give  a dark  impres- 
sion ; for  this  purpose  the  whole  plate  is  covered  with 
drying  oil ; this  is  cleared  off  with  the  hand,  exactly  in 
the  way  a copper  plate  printer  cleans  his  plate.  The  oil 
is  thus  left  in  the  sinkings , or  dark  bitten  in  parts  only. 
The  whole  plate  is  now  placed  in  a suitable  apparatus, 
and  the  lights  or  prominent  parts  of  the  face  are  gilt  by 
the  electrotype  process.  The  whole  surface  is  now 
touched  with  what  the  French  engravers  call  the  u Resin 
Grain,’5  {grain  de  resine) , a species  of  partial  stopping 


ETCHING  DAGUERREOTYPES. 


89 


out,  and  it  is  at  once  bitten  in  to  a sufficient  depth  with 
nitric  acid,  the  gilding  preserving  the  lights  from  all  ac- 
tion of  the  acid.  The  resin  grain  gives  a surface  to  the 
corroded  parts  suitable  for  holding  the  ink,  and  the  plate 
is  now  finished  and  fit  to  give  impressions  resembling 
aquatint.  But  as  silver  is  so  soft  a metal  that  the  surface 
of  the  plate  might  be  expected  to  wear  rapidly,  the  dis- 
coverer proposes  to  shield  it  by  depositing  over  its  whole 
surface  a very  thin  coat  of  copper  by  the  electrotype 
process  ; which  when  worn  may  be  removed  at  pleasure 
down  to  the  surface  of  the  noble  metal  beneath,  and 
again  a fresh  coat  of  copper  deposited  ; and  so  an  unlim- 
ited number  of  impressions  obtained  without  injuring 
the  plate  itself.” 

If,  as  has  been  asserted,  steel  may  be  rendered  suffi- 
ciently sensitive,  to  take  photographic  impressions,  to 
what  a revolution  will  the  art  of  engraving  be  subject  by 
the  discovery  of  this  process. 


CHAP.  VIII. 


PHOTOGENIC  DRAWING  ON  PAPER. 

We  shall  now  proceed  to  describe  the  various  processes 
for  Photogenic  drawing  on  paper  ; first,  however,  im- 
pressing on  the  mind  of  the  experimenter,  the  necessity 
which  exists  for  extreme  care  in  every  stage  of  the  man- 
ipulation. In  this  portion  of  my  work  I am  entirely  in- 
debted to  the  works  of  Professors  Hunt.  Fisher  and  others. 

I.  Apparatus  and  Materials. — Paper . — The  prin- 
cipal difficulty  to  be  contended  with  in  using  paper,  is  the 
different  power  of  imbibition  which  we  often  find  pos- 
sessed in  the  same  sheet,  owing  to  trifling  inequalities  in 
its  texture.  This  is,  to  a certain  extent,  to  be  overcome 
by  a careful  examination  of  each  sheet,  by  the  light  of  a 
candle  or  lamp  at  night,  or  in  the  dark.  By  extending 
each  sheet  between  the  light  and  the  eye,  and  slowdy 
moving  it  up  and  down,  and  from  left  to  right,  the  varia- 
tions in  its  texture  will  be  seen  by  the  different  quanti- 
ties of  light  which  pass  through  it  in  different  parts  ; and 
it  is  always  the  safest  course  to  reject  every  sheet  in  which 
inequalities  exist.  Paper  sometimes  contains  minute 
portions  of  thread,  black  or  brown  specks,  and  other 
imperfections,  all  of  which  materially  interfere  with  the 
process.  Some  paper  has  an  artificial  substance  given  to 
it  by  sulphate  of  lime  (Plaster  of  Paris)  ; this  defect  only 
exists,  how'ever,  in  the  cheaper  sorts  of  demy,  and 
therefore  can  be  easily  avoided.  In  all  cases  such  paper 


92 


PHOTOGENIC  DRAWING  ON  PAPER. 


should  be  rejected,  as  no  really  sensitive  material  can  be 
obtained  with  it.  Paper-makers,  as  is  well  known,  often 
affix  their  name  to  one  half  the  sheet ; this  moiety  should 
also  be  placed  aside,  as  the  letters  must  frequently  come 
out  with  annoying  distinctness.  Well  sized  paper  is  by 
no  means  objectionable,  indeed,  is  rather  to  be  preferred, 
since  the  size  tends  to  exalt  the  sensitive  powers  of  the 
silver.  The  principal  thing  to  be  avoided,  is  the  ab- 
sorption of  the  sensitive  solution  into  the  pores  ; and  it 
must  be  evident  that  this  desideratum  cannot  be  obtained 
by  unsized  paper.  Taking  all  things  into  consideration, 
the  paper  known  as  satin  post  vrould  appear  to  be  prefer- 
able, although  the  precautions  already  recommended 
should  be  taken  in  its  selection. 

Brushes. — The  necessary  solutions  are  to  be  laid  upon 
the  paper  by  brushes.  Some  persons  pass  the  paper  over 
the  surface  of  the  solutions,  thus  licking  up,  as  it  were, 
a portion  of  the  fluid ; but  this  method  is  apt  to  give  an 
uneven  surface  ; it  also  rapidly  spoils  the  solutions.  At 
all  events,  the  brush  is  the  most  ready  and  the  most  ef- 
fectual means. 

Distilled  Water. — All  the  water  used,  both  for  mixing 
the  solutions,  washing  the  paper,  or  cleaning  the  brushes, 
must  be  distilled,  to  obtain  good  results,  for  reasons  be- 
fore specified. 

Blotting  Paper.— In  many  instances,  the  prepared  pa- 
per requires  to  be  lightly  dried  with  bibulous  paper.  The 
best  description  is  the  white  sort.  In  each  stage  of  the 
preparation  distinct  portions  of  bibulous  paper  must  be 
used.  If  these  be  kept  seperate  and  marked,  they  can 
be  again  employed  for  the  same  stage;  but  it  would  not 
do,  for  example,  to  dry  the  finished  picture  in  the  same 
folds  in  which  the  sensitive  paper  had  been  pressed  . A 


PREPARATION  OF  THE  PAPER. 


93 


very  convenient  method  is  to  have  two  or  three  quarto 
size  books  of  bibulous  paper,  one  for  each  seperate  pro- 
cess. 

Nitrate  of  Silver. — In  the  practice  of  the  photographic 
art,  much  depends  on  the  nitrate  of  silver.  Care  should 
be  taken  to  procure  the  best ; the  crystalized  salt  is  most 
suitable  for  the  purpose  While  in  the  form  of  crystal  it 
is  not  injured  by  exposure  to  light,  but  the  bottles  con- 
taining the  solutions  of  this  salt  should  at  all  times  be 
kept  wrapped  in  dark  paper,  and  excluded  from  day- 
light. 

II.  Different  Methods  of  Preparing  the  Paper. 
— Preparation  of  the  Paper. — Dip  the  paper  to  be  pre- 
pared into  a weak  solution  of  common  salt.  The  solution 
should  not  be  saturated,  but  six  or  eight  times  diluted 
with  water.  When  perfectly  moistened,  wipe  it  dry  with 
a towel,  or  press  it  between  bibulous  paper,  by  which 
operation  the  salt  is  uniformly  dispersed  through  its  sub- 
stance. Then  brush  over  it,  on  one  side  only,  a solu- 
tion of  nitrate  of  silver.  The  strength  of  this  solution 
must  vary  according  to  the  color  and  sensitiveness  re- 
quired. Mr.  Talbot  recommends  about  fifty  grains  of  the 
salt  to  an  ounce  of  distilled  water.  Some  advise  twenty 
grains  only,  while  others  say  eighty  grains  to  the  ounce. 
When  dried  in  a dark  room,  the  paper  is  fit  for  use.  To 
render  this  paper  still  more  sensitive,  it  must  again  be 
washed  with  salt  and  water,  and  afterwards  with  the 
same  solution  of  nitrate  of  silver,  drying  it  between  times. 
This  paper,  if  carefully  made,  is  very  useful  for  all  or- 
dinary photographic  purposes.  For  example,  nothing 
can  be  more  perfect  than  the  images  it  gives  of  leaves  and 
flowers,  especially  with  a summer’s  sun;  the  light,  pass- 
ing through  the  leaves,  delineates  every  ramification  ot 


94 


PREPARATION  OF  THE  PAPER. 


their  fibres.  In  conducting  this  operation,  however,  it 
will  be  found  that  the  results  are  sometimes  more  and 
sometimes  less  satisfactory,  in  consequence  of  small  and 
accidental  variations  in  the  proportions  employed.  It 
happens  sometimes  that  the  chloride  of  silver  formed  on 
the  surface  of  the  paper  is  disposed  to  blacken  of  itself, 
without  any  exposure  to  light.  This  shows  that  the  at- 
tempt to  give  it  sensibility  has  been  carried  too  far.  The 
object  is,  to  approach  as  nearly  to  this  condition  as  possi- 
ble without  reaching  it ; so  that  the  preparation  may  be 
in  a state  ready  to  yield  to  the  slightest  extraneous  force, 
such  as  the  feeblest  effect  of  light. 

Coopers  Method. — Soak  the  paper  in  a boiling  hot  so- 
lution of  chlorate  of  potash  (the  strength  matters  not)  for 
a few  minutes;  then  take  it  out,  dry  it,  and  wet  it  with 
a brush,  on  one  side  only,  dipped  in  a solution  of  nitrate 
of  silver,  sixty  grains  to  an  ounce  of  distilled  water,  or, 
if  not  required  to  be  so  sensitive,  thirty  grains  to  the 
ounce  will  do.  This  paper  possesses  a great  advantage 
over  any  other,  for  the  image  can  be  fixed  by  mere  wash- 
ing. It  is,  however,  very  apt  to  become  discolored  even 
in  the  washing,  or  shortly  afterwards,  and  is,  besides, 
not  so  sensitive,  nor  does  it  become  so  dark  as  that  made 
according  to  Mr.  Talbot’s  method. 

Daguerre^s  Method. — Immerse  the  paper  in  hydrochlo- 
ric (or  as  it  is  more  commonly  called,  muriatic)  ether, 
which  has  been  kept  sufficiently  long  to  become  acid; 
the  paper  is  then  carefully  and  completely  dried,  as  this  is 
essential  to  its  proper  preparation.  It  is  then  dipped  into 
a solution  of  nitrate  of  silver,  and  dried  without  artifi- 
cial heat  in  a room  from  which  every  ray  of  light  is  care- 
fully excluded.  By  this  process  it  acquires  a very  re- 
markable facility  in  being  blackened  on  a very  slight  ex- 


PREPARATION  OF  THE  PAPER. 


95 


posure  to  light,  even  when  the  latter  is  by  no  means  in- 
tense. The  paper,  however,  rapidly  loses  its  extreme 
sensitiveness  to  light,  and  finally  becomes  no  more  im- 
pressionable by  the  solar  beams  than  common  nitrate  pa- 
per. 

Bromide  Paper . — Of  all  common  photographic  paper, 
the  best,  because  the  least  troublesome  in  making,  and 
the  most  satisfactory  in  result,  is  that  which  is  termed 
bromine  paper,  and  which  is  thus  prepared  : — Dissolve 
one  hundred  grains  of  bromide  of  potassium  in  one  ounce 
of  distilled  water,  and  soak  the  paper  in  this  solution. 
Take  off  the  superfluous  moisture,  by  means  of  your 
bibulous  paper,  and  when  nearly  dry,  brush  it  over  on 
one  side  only,  with  a solution  of  one  hundred  grains  of 
nitrate  of  silver  to  an  ounce  of  distilled  water.  The 
paper  should  then  be  dried  in  a dark  room,  and,  if  re- 
quired to  be  very  sensitive,  should  a second  time  be 
brushed  over  with  the  nitrate  of  silver  solution. 

In  preparing  the  papers  mentioned  above,  there  are 
two  circumstances  which  require  particular  attention. 
In  the  first  place,  it  is  necessary  to  mark  the  paper  on 
the  side  spread  with  the  solutions  of  nitrate  of  silver, 
near  one  of  the  extreme  corners.  This  answers  two 
purposes  : in  the  first  place  it  serves  to  inform  the  ex- 
perimentalist of  the  sensitive  surface;  and  secondly,  it 
will  be  a guide  as  to  which  portion  of  the  papers  has 
been  handled  during  the  application  of  the  solution,  as 
the  impress  of  the  fingers  will  probably  come  out  upon 
the  photograph.  The  second  caution  is,  that  the  appli- 
cation of  the  sensitive  solution  (nitrate  of  silver,)  and 
the  subsequent  drying  of  the  paper,  must  be  always 
conducted  in  a perfectly  dark  room,  the  light  of  a can- 
dle alone  being  used. 


5* 


96 


PHOTOGENIC  PROCESS  ON  PAPER. 


III.  Photogenic  Process  on  paper. — Method . — 
The  simplest  mode  is  to  procure  a flat  board  and 
a square  of  glass,  larger  in  size  than  the  object  in- 
tended to  be  copied.  On  the  board  place  the  photogra- 
Fig.  28. 


phic  paper  with  the  prepared  side  upwards,  and  upon  it 
the  object  to  be  copied  ; over  both  lay  the  glass  and  se- 
cure them  so  that  they  are  in  close  connection  by  means 
of  binding  screws  or  clamps,  similar  to  g.  g.  fig.  28. 
Should  the  object  to  be  copied  be  of  unequal  thickness, 
such  as  a leaf,  grass,  &c.,  it  will  be  necessary  to  place 
on  the  board,  first,  a soft  cushion,  which  may  be  made 
of  a piece  of  fine  flannel  and  cotton  wool.  By  this 
means  the  object  is  brought  into  closer  contact  with  the 
paper,  which  is  of  great  consequence,  and  adds  mate- 
rially to  the  clearness  of  the  copy.  The  paper  is  now 
exposed  to  diffused  daylight,  or,  still  better,  to  the  di- 
rect rays  of  the  sun,  when  that  part  of  the  paper  not 
covered  by  the  object  will  become  tinged  with  a violet 
color,  and  if  the  paper  be  well  prepared,  it  will  in  a 
short  time  pass  to  a deep  brown  or  bronze  color.  It 
must  then  be  removed,  as  no  advantage  will  be  obtained 


PHOTOGENIC  PROCESS  ON  PAPER. 


97 


by  keeping  it  longer  exposed  ; on  the  contrary,  the  de- 
licate parts  yet  uncolored  will  become  in  some  degree  af- 
fected. The  photogenic  paper  will  now  show  a more  or 
less  white  and  distinct  representation  of  the  object.  The 
apparatus  figured  at  28  consists  of  a wooden  frame  simi- 
lar to  a picture  frame ; a piece  of  plate  glass  is  fixed  in 
front ; and  it  is  provided  with  a sliding  cover  of  wood, 
c.,  which  is  removed  when  the  paper  is  ready  to  be  ex- 
posed to  the  action  of  the  light.  The  back,  e?.,  which 
is  furnished  with  a cushion,  as  just  described,  is  made 
to  remove  for  the  purpose  of  introducing  the  object  to  be 
copied,  and  upon  it  the  prepared  paper ; the  back  is  then 
replaced,  and,  by  aid  of  the  cross  piece  and  screw,  e„, 
the  whole  is  brought  into  close  contact  with  the  glass. 

The  objects  best  delineated  on  these  photographic  pa- 
pers, are  lace,  feathers,  dried  plants,  particularly  the 
ferns,  sea-weeds  and  the  light  grasses,  impressions  of 
copper  plate  and  wood  engravings,  particularly  if  they 
have  considerable  contrast  of  light  and  shade — (these 
should  be  placed  with  the  face  downwards,  having  been 
previously  prepared  as  hereafter  directed) — paintings  on 
glass,  etchings,  &c. 

To  fix  the  Drawings . — Mr.  Talbot  recommends  that 
the  drawings  should  be  dipped  in  salt  and  water,  and  in 
many  instances  this  method  will  succeed,  but  at  times  it 
is  equally  unsuccessful.  Iodide  of  potassium,  or,  as  it  is 
frequently  called,  hydriodate  of  potash,  dissolved  in  wa- 
ter, and  very  much  diluted,  (twenty-five  grains  to  one 
ounce  of  water,)  is  a more  useful  preparation  to  wash 
the  drawings  with  ; it  must  be  used  very  weak  or  it  will 
not  dissolve  the  unchanged  muriate  only,  as  is  intendedj 
but  the  black  oxide  also,  and  the  drawing  be  thereby 
spoiled. 


98  PHOTOGENIC  PROCESS  ON  PAPER. 

But  the  most  certain  material  to  be  used  is  the  hypo- 
sulphite of  soda.  One  ounce  of  this  salt  should  be  dis- 
solved in  about  a pint  of  distilled  water.  Having  pre- 
viously washed  the  drawing  in  a little  lukewarm  water, 
which  of  itself  removes  a large  portion  of  the  muriate  of 
silver  which  is  to  be  got  rid  of,  it  should  be  dipped  once 
or  twice  in  the  hyposulphite  solution.  By  this  operation 
the  muriate  which  lies  upon  the  lighter  parts  will  be- 
come so  altered  in  its  nature  as  to  be  unchanged  by  light, 
while  the  rest  remains  dark  as  before. 

It  will  be  evident  from  the  nature  of  the  process,  that 
the  lights  and  shadows  of  an  object  are  reversed.  That 
which  is  originally  opaque  will  intercept  the  light,  and 
consequently  those  parts  of  the  photogenic  paper  will  be 
least  influenced  by  light,  while  any  part  of  the  object 
which  is  transparent,  by  admitting  the  light  through  it, 
will  suffer  the  effect  to  be  greater  or  less  in  exact  propor- 
tion to  its  degree  of  transparency.  The  object  wholly 
intercepting  the  light  will  show  a white  impression  ; in 
selecting,  for  example,  a butterfly  for  an  object,  the  in- 
sect, being  more  or  less  transparent,  leaves  a propor- 
tionate gradation  of  light  and  shade,  the  most  opaque 
parts  showing  the  whitest.  It  may  be  said,  therefore, 
that  this  is  not  natural,  and  in  order  to  obtain  a true  pic- 
ture— or,  as  it  is  termed,  a positive  picture — we  must 
place  our  first  acquired  photograph  upon  a second  piece 
of  photogenic  paper.  Before  we  do  this,  however,  we 
must  render  our  photograph  transparent,  otherwise  the 
opacity  of  the  paper  wjll  mar  our  efforts. 

To  accomplish  this  object,  the  back  of  the  paper  con- 
taining the  negative , or  first  acquired  photograph,  should 
be  covered  with  white  or  virgin  wax.  This  may  be  done 
by  scraping  the  wax  upon  the  paper,  and  then,  after 


APPLICATION  OF  PHOTOGENIC  DRAWING. 


99 


placing  it  between  two  other  pieces  of  paper,  passing  a 
heated  iron  oyer  it.  The  picture,  being  thus  rendered 
transparent,  should  nowr  be  applied  to  a second  piece  of 
photogenic  paper,  and  exposed,  in  the  manner  before  di- 
rected, either  to  diffused  day-light  or  to  the  direct  rays 
of  the  sun.  The  light  will  now  penetrate  the  white  parts, 
and  the  second  photograph  be  the  reverse  of  the  first,  or 
a true  picture  of  the  original. 

Instead  of  wax,  boiled  linseed  oil- — it  must  be  the  best 
and  most  transparent  kind — may  be  used.  The  back  of 
the  negative  photograph  should  be  smeared  with  the  oil, 
and  then  placed  between  sheets  of  bibulous  paper.  When 
dry  the  paper  is  highly  transparent. 

IV.  Application  of  Photogenic  Drawing. — This 
method  of  photogenic  drawing  may  be  applied  to  many 
useful  purposes,  such  as  the  copying  of  paintings  on 
glass  by  the  light  thrown  through  them  on  the  prepared 
paper — Imitations  of  etchings,  which  may  be  accom- 
plished by  covering  a piece  of  glass  with  a thick  coat  of 
white  oil  paint;  when  dry,  with  the  point  of  a needle, 
lines  or  scratches  are  to  be  made  through  the  white  lead 
ground,  so  as  to  lay  the  glass  bare  ; then  place  the  glass 
upon  a piece  of  prepared  paper,  and  expose  it  to  the 
light.  Of  course  every  line  will  be  represented  beneath 
of  a black  color,  and  thus  an  imitation  etching  will  be 
produced.  It  is  also  applicable  to  the  delineation  of  mi- 
croscopic objects,  architecture,  sculpture,  landscapes  and 
external  nature. 

A novel  application  of  this  art  has  been  recently  sug- 
gested, which  would  doubtless  prove  useful  in  very  many 
instances.  By  rendering  the  wood  used  for  engravings 
sensitive  to  light,  impressions  may  be  at  once  made 
thereon,  without  the  aid  of  the  artist’s  pencil.  The  pre- 


100 


APPLICATION  OF  PHOTOGENIC  DRAWING. 


paration  of  the  wood  is  simply  as  follows : — Place  its 
face  or  smooth  side  downwards,  in  a plate  containing 
twenty  grains  of  common  salt  dissolved  in  an  ounce  of 
water ; here  let  it  remain  for  five  minutes,  take  it  out  and 
dry  it ; then  place  it  again  face  downwards  in  another 
plate  containing  sixty  grains  of  nitrate  of  silver  to  an 
ounce  of  water ; here  let  it  rest  one  minute,  when  taken 
out  and  dried  in  the  dark  it  will  be  fit  for  use,  and  will 
become,  on  exposure  to  the  light,  of  a fine  brown  color. 
Should  it  be  required  more  sensitive,  it  must  be  im- 
mersed in  each  solution  a second  time,  for  a few  seconds 
only.  It  will  now  be  very  soon  effected  by  a very  dif- 
fused light. 

This  process  may  be  useful  to  carvers  and  wood  en- 
gravers ; not  only  to  those  who  cut  the  fine  objects  of  ar- 
tistical  design,  but  still  more  to  those  who  cut  patterns 
and  blocks  for  lace,  muslin,  calico-printing,  paper  hang- 
ings, etc.,  as  by  this  means  the  errors,  expense  and  time 
of  the  draughtsman  may  be  wholly  saved,  and  in  a mi- 
nute or  two  the  most  elaborate  picture  or  design,  or  the 
most  complicated  machinery,  be  delineated  with  the  ut- 
most truth  and  clearness. 


CHAP.  IX. 


CALOTYPE  AND  CHRYSOTYPE. 


The  materials  and  apparatus  necessary  for  the  Calotype 
process  are — 

Two  or  Three  Shallow  Dishes , for  holding  distilled 
water,  iodide,  potassium,  &c. — the  same  water  never 
being  used  for  two  different  operations. 

White  Bibulous  Paper. 

Photogenic  Camera — Fig.  9. 

Pressure  Frame — Fig  28. 

Paper , of  the  very  best  quality — directions  for  the 
choice  of  which  have  been  already  given. 

A Screen  of  Yellow  Glass. 

Camels'  or  Badgers'  hair  Brushes : — A seperate  one 
being  kept  for  each  wash  and  solution,  and  which  should 
be  thoroughly  cleansed  immediately  after  using  in  dis- 
tilled water.  That  used  for  the  gallo-nitrate  is  soon  des- 
troyed, owing;,  to  the  rapid  decomposition  of  that  pre- 
paration. 

A Graduated  Measure . 

Three  or  Four  Flat  Boards , to  which  the  paper  may 
be  fixed  with  drawing  pins. 

A Hot  Water  Drying  Apparatus , for  drying  the  paper 
will  also  be  found  useful. 

In  preparing  the  Calotype  paper,  it  is  necessary  to  be 
extremely  careful,  not  only  to  prevent  the  daylight  from 


102 


I HE  CALOTll>Ji. 


impringing  upon  it,  but  also  to  exclude,  if  possible,  the 
strong  glare  of  the  candle  or  lamp.  This  may  be  effected 
by  using  a shade  of  yellow  glass  or  gauze,  which  must 
be  placed  around  the  light.  Light  passing  through  such 
a medium  will  scarcely  affect  the  sensitive  compounds, 
the  yellow  glass  intercepting  the  chemical  rays. 

Preparation  of  the  Iodized  Paper. — Dissolve  one  hun- 
dred grains  of  crystalized  nitrate  of  silver  in  six  ounces 
of  distilled  water,  and  having  fixed  the  paper  to  one  of 
the  boards,  brush  it  over  with  a soft  brush  on  one  side 
only  with  this  solution,  a mark  being  placed  on  that  side 
whereby  it  may  be  known.  When  nearly  dry  dip  it  into 
a solution  of  iodide  of  potassium,  containing  five  hun- 
dred grains  of  that  salt  dissolved  in  a pint  of  water. 
When  perfectly  saturated  with  this  solution,  it  should  be 
washed  in  distilled  water,  drained  and  allowed  to  dry. 
This  is  the  first  part  of  the  process,  and  the  paper  so  pre- 
pared is  called  iodized  paper . It  should  be  kept  in  a 
port-folio  or  drawer  until  required  : with  this  care  it  may 
be  preserved  for  any  length  of  time  without  spoiling  or 
undergoing  any  change. 

Mr.  Cundell  finds  a stronger  solution  of  nitrate  of  sil- 
ver preferable,  and  employs  thirty  grains  to  the  ounce  of 
distilled  water  : he  also  adds  fifty  grains  of  common  salt 
to  the  iodide  of  potassium,  which  he  applies  to  the 
marked  side  of  the  paper  only.  This  is  the  first  pro- 
cess. 

Preparation  of  the  paper  for  the  Camera.-— The  second 
process  consists  in  applying  to  the  above  a solution  which 
has  been  named  by  Mr.  Talbot  the  “ Gallo-Nitrate  of 
Silver;”  it  is  prepared  in  the  following  manner:  Dis- 

solve one  hundred  grains  of  crystalized  nitrate  of  silver 
in  two  ounces  of  distilled  water,  to  which  is  added  two 


THE  CALOTYPE. 


103 


and  two-third  drachms  of  strong  acetic  acid.  This  so- 
lution should  be  kept  in  a bottle  carefully  excluded  from 
the  light.  Now,  make  a solution  of  gallic  acid  in  cold 
distilled  water  : the  quantity  dissolved  is  very  small. 
When  it  is  required  to  take  a picture,  the  two  liquids 
above  described  should  be  mixed  together  in  equal  quan- 
tities ; but  as  it  speedily  undergoes  decomposition,  and 
will  not  keep  good  for  many  minutes,  only  just  sufficient 
for  the  time  should  be  prepared,  and  that  used  without 
delay.  It  is  also  well  not  to  make  much  of  the  gallic 
acid  solution,  as  it  will  not  keep  for  more  than  a few 
days  without  spoiling.  A sheet  of  the  iodized  paper 
should  be  washed  over  with  a brush  with  this  mixed  so- 
lution, care  being  taken  that  it  be  applied  to  the  marked 
side.  This  operation  must  be  performed  by  candle  light. 
Let  the  paper  rest  half  a minute,  then  dip  it  into  one  of 
+he  dishes  of  water,,  passing  it  beneath  the  surface  seve- 
ral times ; it  is  now  allowed  to  drain,  and  dried  by 
placing  its  marked  side  upward,  on  the  drying  appara- 
tus. It  is  better  not  to  touch  the  surface  with  bibulous 
paper.  It  is  now  highly  sensitive,  and  ready  to  receive 
the  impression.  In  practice  it  is  found  better  and  more 
economical  not  to  mix  the  nitrate  of  silver  and  gallic 
acid,  but  only  to  brush  the  paper  with  the  solution  of  the 
nitrate. 

Mr.  Talbot  has  recently  proposed  some  modifications  in 
his  method  of  preparing  the  calotype  paper.  The  paper 
is  first  iodized  in  the  usual  way ; it  is  then  washed  over 
with  a saturated  solution  of  gallic  acid  in  distilled  water 
and  dried.  Thus  prepared  he  calls  it  the  io-gallic  paper : 
it  will  remain  good  for  a considerable  time  if  kept  in  a 
press  or  portfolio.  When  required  for  use,  it  is  washed 
with  a solution  of  nitrate  of  silver  (fifty  grains  to  the 


1 04 


THE  CALOTYPE. 


ounce  of  distilled  water),  and  it  is  then  fit  forth©  ca« 
mera. 

Exposure  in  the  Camera. — The  calotype  paper  thus 
prepared  possesses  a very  high  degree  of  sensibility  when 
exposed  to  light,  and  we  are  thus  provided  with  a me- 
dium by  which,  with  the  aid  of  the  photogenic  camera, 
we  may  effectually  copy  views  from  nature,  figures, 
buildings,  and  even  take  portraits  from,  the  shadows 
thrown  on  the  paper  by  the  living  face.  The  paper  may 
be  used  somewhat  damp.  The  best  plan  for  fixing  it  in 
the  camera  is  to  place  it  between  a piece  of  plate  glass 
and  some  other  material  with  a fiat  surface,  as  a piece  of 
smooth  slate  or  an  iron  plate,  which  latter,  if  made 
warm,  renders  the  paper  more  sensitive,  and  consequently 
the  picture  is  obtained  more  rapidly. 

Time  of  Exposure . — -With  regard  to  the  time  which 
should  be  allowed  for  the  paper  to  remain  in  the  camera, 
no  direct  rules  can  be  laid  down  ; this  will  depend  alto- 
gether upon  the  nature  of  the  object  to  be  copied,  and 
the  light  which  prevails.  All  that  can  be  said  is,  that 
the  time  necessary  for  forming  a good  picture  varies  from 
thirty  seconds  to  five  minutes,  and  it  will  be  naturally 
the  first  object  of  the  operator  to  gain  by  experience  this 
important  knowledge. 

Bringing  Out  the  Picture.— The  paper  when  taken 
from  the  camera,  which  should  be  done  so  as  to  exclude 
every  ray  of  light — and  here  the  dark  slide  of  the  ca- 
mera plate  holder  becomes  of  great  use — bears  no  resem- 
blance to  the  picture  which  in  reality  is  formed.  The 
impression  is  latent  and  invisible,  and  its  existence  would 
not  be  suspected  by  any  one  not  acquainted  with  the 
process  by  previous  experiment.  The  method  of  bring- 
ing out  the  image  is  very  simple.  It  consists  in  wash- 


THE  CALOTYPE- 


105 


ing  the  paper  with  the  gallo-nitrate  of  silver , prepared  in 
the  way  already  described,  and  then  warming  it  gently, 
being  careful  at  the  same  time  not  to  let  any  portion  be- 
come perfectly  dry.  In  a few  seconds  the  part  of  the 
paper  upon  which  the  light  has  acted  will  begin  to  darken, 
and  finally  grow  entirely  black,  while  the  other  parts  re- 
tain their  original  color.  Even  a weak  impression  may 
be  brought  out  by  again  washing  the  paper  in  the  gallo- 
nitrate,  and  once  more  gently  warming  it.  When  the 
paper  is  quite  black,  as  is  generally  the  case,  it  is  a 
highly  curious  and  beautiful  phenomenon  to  witness  the 
commencement  of  the  picture,  first  tracing  out  the 
stronger  outlines,  and  then  gradually  filling  up  all  the 
numerous  and  complicated  details.  The  artist  should 
watch  the  picture  as  it'developes  itself,  and  when  in  his 
judgment  it  has  attained  the  greatest  degree  of  strength 
and  clearness,  he  shall  stop  further  proceedings  by  wash- 
ing it  with  the  fixing  liquid.  Here  again  the  mixed  so- 
lution need  not  be  used,  but  the  picture  simply  brushed 
over  with  the  gallic  acid. 

The  Fixing  Process. — In  order  to  fix  the  picture  thus 
obtained,  first  dip  it  into  water;  then  partly  dry  it  with 
bibulous  paper,  and  wash  it  with  a solution  of  bromide 
of  potassium— containing  one  hundred  grains  of  that  salt 
dissolved  in  eight  or  ten  ounces  of  distilled  water.  The 
picture  is  again  washed  with  distilled  water,  and  then 
finally  dried.  Instead  of  bromide  of  potassium,  a solu- 
tion of  hyposulphite  of  soda,  as  before  directed,  may  be 
used  with  equal  advantage. 

The  original  calotype  picture,  like  the  photographic 
one  described  in  the  last  chapter,  is  negative,  that  is  to 
lay,  it  has  its  lights  and  shades  reversed,  giving  the 
jvhole  an  appearance  not  conformable  to  nature.  But  it 


106 


THE  CALOTYPE. 


is  easy  from  this  picture  to  obtain  another  which  shall  be 
conformable  to  nature;  viz.,  in  which  the  lights  shall  be 
represented  by  lights,  and  the  shades  by  shades.  It  is 
onty  necessary  to  take  a sheet  of  photographic  paper 
(the  bromide  paper  is  the  best),  and  place  it  in  contact 
with  a calotype  picture  previously  rendered  transparent 
by  wax  or  oil  as  before  directed.  Fix  it  in  the  frame, 
Fig.  28,  expose  it  in  the  sunshine  for  a short  time,  and 
an  image  or  copy  will  be  formed  on  the  photogenic  paper. 
The  calotype  paper  itself  may  be  used  to  take  the  second, 
or  positive,  picture,  but  this  Mr.  Talbot  does  not  recom- 
mend, for  although  it  takes  a much  longer  time  to  take  a 
copy  on  the  photogenic  paper,  yet  the  tints  of  such  copy 
are  generally  more  harmonious  and  agreeable.  After  a 
calotype  picture  has  furnished  a number  of  copies  it  some- 
times grows  faint,  and  the  subsequent  copies  are  inferior. 
This  may  be  prevented  by  means  of  a process  which  re- 
vives the  strength  of  the  calotype  pictures.  In  order  to 
do  this,  it  is  only  nesessary  to  wash  them  by  candle-light 
with  gallo-nitrate  of  silver,  and  then  warm  them.  This 
causes  all  the  shades  of  the  picture  to  darken  considerably, 
while  the  white  parts  are  unaffected.  After  this  the  pic- 
ture is  of  course  to  be  fixed  a second  time.  It  will  then 
yield  a second  series  of  copies,  and,  in  this  way,  a great 
number  may  frequently  be  made. 

The  calotype  pictures  when  prepared  as  we  have  stated, 
possess  a yellowish  tint,  which  impedes  the  process  of 
taking  copies  from  them.  In  order  to  remedy  this  defect, 
Mr.  Talbot  has  devised  the  following  method.  The  ca- 
lotype picture  is  plunged  into  a solution  consisting  of  hy- 
posulphite of  soda  dissolved  in  about  ten  times  its  weight 
of  water,  and  heated  nearly  to  the  boiling  point.  The 
picture  should  remain  in  about  ten  minutes ; it  must  then 


THE  CALOTYPE. 


107 


* 

be  removed,  washed  and  dried.  By  this  process  the 
picture  is  rendered  more  transparent,  and  its  lights  be- 
come whiter.  It  is  also  rendered  exceedingly  permanent 
After  this  process  the  picture  may  be  waxed,  and  thus 
its  transparency  increased.  This  process  is  applicable  to 
all  photographic  papers  prepared  with  solutions  of  silver. 

Having  thus  fully,  and  it  is  hoped  clearly,  considered 
the  process,  it  may  be  necessary  before  dismissing  the 
calotype  from  notice,  to  add  one  or  two  remarks  from  the 
observations  and  labors  of  some  who  have  experimented 
in  this  art.  Dr.  Ryan  in  his  lectures  before  the  Royal 
Polytechnic  Institution,  has  observed,  that  in  the  iodi- 
zing process  the  sensitiveness  of  the  paper  is  materially 
injured  by  keeping  it  too  long  in  the  solution  of  iodide  of 
potassium,  owing  to  the  newly  formed  iodide  of  silver 
being  so  exceedingly  solvable  in  excess  of  iodide  of  po- 
tassium as  in  a few  minutes  to  be  completely  removed. 
The  paper  should  be  dipped  in  the  solution  and  instantly 
removed.  There  is  another  point, too,  in  the  preparation  of 
the  iodized  paper  in  which  suggestions  for  a slight  deviation 
from  Mr.  Talbot’s  plan  have  been  made.  In  the  first  in > 
stance,  it  is  recommended  that  the  paper  be  brushed  over 
with  the  iodide  of  potassium,  instead  of  the  nitrate  of 
silver,  transposing,  in  fact,  the  application  of  the  first 
two  solutions.  The  paper,  having  been  brushed  over 
with  the  iodide  of  potassium  in  solution,  is  washed  in 
distilled  water  and  dried.  It  is  then  brushed  over  with 
nitrate  of  silver,  and  after  drying  is  dipped  for  a moment 
in  a fresh  solution  of  iodide  of  potassium  of  only  one- 
fourth  the  strength  of  the  first,  that  is  to  say,  one  hun- 
dred and  twenty-five  grains  of  the  salt  to  a pint  of  water. 
After  this  it  is  again  washed  and  dried.  The  advantage 
derived  from  this  method,  is  a more  sensitive  paper,  and 


108 


THE  CALOTYPE. 


a more  even  distribution  of  the  compounds  over  the  sur- 
face. 

Another  deviation  from  Mr.  Talbot’s  method  has  been 
suggested,  as  follows: 

Brush  the  paper  over  with  a solution  of  one  hundred 
grains  of  nitrate  of  silver  to  an  ounce  of  water.  When 
nearly,  but  not  quite,  dry,  dip  it  into  a solution  of  twenty- 
five  grains  of  iodide  of  potassium  to  one  ounce  of  distilled 
water,  drain  it,  wash  it  in  distilled  water  and  again  drain 
it.  Now  brush  it  over  with  aceto-nitrate  of  silver,  made 
by  dissolving  fifty  grains  of  nitrate  of  silver  in  one  ounce 
of  distilled  water,  to  which  is  added  one  sixth  of  its  vo- 
lume of  strong  acetic  acid.  Dry  it  with  bibulous  paper, 
and  it  is  ready  for  receiving  the  image.  When  the  im- 
pression has  been  received,  which  will  require  from  one 
to  five  minutes  according  to  the  state  of  the  weather,  it 
must  be  washed  with  a saturated  solution  of  gallic  acid 
to  which  a few  drops  of  the  aceto-nitrate  of  silver,  made 
as  above,  have  been  added.  The  image  will  thus  be 
gradually  brought  out,  and  may  be  fixed  with  hyposul- 
phite of  soda.  To  obtain  the  positive  picture,  paper 
must  be  used  brushed  over  with  an  ammonio-nitrate  of 
silver,  made  thus  : forty  grains  of  nitrate  of  silver  is  to  be 
dissolved  in  one  ounce  of  distilled  water,  and  liquid  am- 
monia cautiously  added  till  it  re-dissolves  the  precipitate. 

A pleasing  effect  may  be  given  to  calotype,  or  indeed 
to  all  photographic  pictures,  by  waxing  them  at  the  back, 
and  mounting  them  on  white  paper,  or  if  colored  paper 
be  used,  various  beautiful  tones  of  color  are  produced 

POSITIVE  CALOTYPE. 

At  a meeting  of  the  British  Association,  Professor 
Grove  described  a process  by  which  positive  calotyp 


POSITIVE  CALOTYPE. 


109 


pictures  could  be  directly  obtained  ; and  thus  the  neces- 
sity to  transfer  by  which  the  imperfections  of  the  paper 
are  snown,  and  which  is  moreover  a troublesome  and 
tedious  process,  is  avoided.  As  light  favors  most  chem- 
ical actions,  Mr.  Grove  was  led  to  believe  that  a paper 
darkened  by  the  sun  (which  darkening  is  supposed  to  re- 
sult from  the  precipitation  of  silver)  might  be  bleached 
by  using  a solvent  which  would  not  attack  the  silver  in 
the  dark,  but  would  do  so  in  the  light.  The  plan  found 
to  be  the  most  successful  is  as  follows  : ordinary  calotype 
paper  is  darkened  till  it  assumes  a deep  brown  color, 
almost  amounting  to  black  ; it  is  then  redipped  into  the 
ordinary  solution  of  iodide  of  potassium,  and  dried.  When 
required  for  use  it  is  drawn  over  dilute  nitric  acid — one  part 
acid  to  two  and  a half  parts  water.  In  this  state,  those 
parts  exposed  to  the  light  are  rapidly  bleached,  while  the 
parts  not  exposed  remain  unchanged.  It  is  fixed  by  wash- 
ing in  water,  and  subsequently  in  hyposulphite  of  soda, 
or  bromide  of  potassium. 

Mr.  Grove  also  describes  a process  for  converting 
a negative  calotype  into  a positive  one,  which  promises, 
when  carried  out,  to  be  of  great  utility. 

Let  an  ordinary  calotype  image  or  portrait  be  taken  in 
the  camera,  and  developed  by  gallic  acid  ; then  drawn 
over  iodide  of  potassium  and  dilute  nitric  acid  and  ex- 
posed to  full  sunshine ; while  bleaching  the  dark  parts, 
the  light  is  redarkening  the  newly  precipitated  iodide  in 
the  lighter  portions  and  thus  the  negative  picture  is  con- 
verted into  a positive  one. 

The  calotype  process  has  been  applied  to  the  art  of 
printing,  in  England,  but  it  possesses  no  advantages 
wnatever  over  the  method,  with  type,  now  so  gloriously 
brougnt  to  perfection  ; and  I can  hardly  think  it  will 


110 


CHRYSOTYPE. 


ever  oe  made  of  any  utility.  For  the  benefit  of  the  cu- 
rious, however,  I will  give  Mr.  Talbot’s  method. 

Some  pages  of  letter-press  are  taken  printed  on  one 
side  only ; and  waxed,  to  render  them  more  transparent ; 
the  letters  are  then  cut  out  and  sorted.  To  compose  a 
new  page  lines  are  ruled  on  a sheet  of  white  paper,  and 
the  words  are  formed  by  fixing  the  seperate  letters  in  their 
proper  order.  The  page  being  ready,  a negative  photo- 
graph is  produced  from  it,  from  which  the  requisite  num- 
ber of  positive  photogenic  copies  may  be  obtained. 

Another  method.,  which  requires  the  use  of  the  came- 
ra, consists  in  employing  large  letters  painted  on  rectan- 
gular pieces  of  wood,  colored  white.  These  are  arranged 
in  lines  on  a tablet  or  board,  by  slipping  them  into  grooves 
which  keep  them  steady  and  upright,  thus  forming  a 
page  on  an  enlarged  scale.  It  is  now  placed  before  a 
camera,  and  a reduced  image  of  it  of  the  required  size  is 
thrown  upon  the  sensitive  paper.  The  adjustments  must 
be  kept  invariable,  so  that  the  consecutive  pages  may  not 
vary  from  one  another  in  the  size  of  the  type.  Mr.  Tal- 
bot has  patented  his  process,  but  what  benefit  he  expects 
to  derive  from  it,  I am  at  a loss  to  determine 

Enlarged  copies  of  calotype  or  Daguerreotype  portraits 
may  be  obtained  by  throwing  magnified  images  of  them, 
by  means  of  lenses,  upon  calotype  paper. 

THE  CHRYSOTYPE. 

A modification  of  Mr.  Talbot’s  process,  to  which  the 
name  of  Chrysotype  v/as  given  by  its  discoverer,  Sir 
John  Herschel,  was  communicated  in  June  1843  to  the 
Eoyal  Society,  by  that  distinguished  philosopher.  This 
modification  would  appear  to  unite  the  simplicity  of  pho- 
tography with  all  the  distinctness  and  clearness  of  calo- 
type. This  preparation  is  as  follows. 


CHRYSOTYPE. 


Ill 


The  paper  is  to  be  washed  in  a solution  of  ammonio- 
citrate  of  iron ; it  must  then  be  dried,  and  subsequently 
brushed  over  with  a solution  of  the  ferro-sesquicyanuret 
of  potassium.  This  paper,  when  dried  in  a perfectly 
dark  room,  is  ready  for  use  in  the  same  manner  as  if 
otherwise  prepared,  the  image  being  subsequently  brought 
out  by  any  neutral  solution  of  gold.  Such  was  the  first 
declaration  of  his  discovery,  but  he  has  since  found  that 
a neutral  solution  of  silver  is  equally  useful  in  bringing 
out  the  picture.  Photographic  pictures  taken  on  this 
paper  are  distinguished  by  a clearness  of  outline  foreign 
to  all  other  methods. 

PICTURES  ON  GLASS. 

Messrs.  Langenheim,  of  Philadelphia,  having  made  some 
noise  in  regard  to  the  taking  of  photographic  pictures  on 
glass,  and  claiming  the  exclusive  use  by  right  of  inven- 
tion, I deem  it  proper  to  .give  the  method  of  M.  Evrard, 
of  Lille,  France,  which,  not  being  patented  in  this 
country,  is  free  to  all.  M.  Evrard’s  process  is  as  follows : 

“ The  principle  of  the  discovery  is  a matrix  of  albumen, 
rendered  sensible  to  the  action  of  light  by  aceto-nitrate  of 
silver,  and  spread  in  a thin  layer  on  a plate  of  glass. — 
The  process  is  to  take  a certain  number  of  the  white  of 
eggs,  and  remove  all  the  non-transparent  part,  and  then 
add  a few  drops  of  a saturated  solution  of  iodate  of  potas- 
sium ; then  beat  the  eggs  into  froth,  and  allow  it  to  settle. 
The  plate  of  glass  is  well  cleaned  with  alcohol,  and  the 
albumen  is  then  spread  over  the  glass  in  a thin  layer  with 
another  piece  of  glass.  The  glass  must  have  a perfect 
thin  coat  adhering  to  it,  when  it  is  hung  up  by  one  of  the 
corners  to  drain  off  the  excess.  The  glass  is  then  placed 
fiat  upon  a level  board,  screened  from  dust,  and  allowed  to 


112 


PICTURES  ON  GLASS. 


dry.  When  dry,  it  is  submitted  to  a good  heat,  but  not 
so  much  that  the  albumen  will  peel  of.  After  this,  the 
glass  is  dipped  into  a solution  of  aceto-nitrate  of  silver, 
face  downwards,  after  which  it  is  removed  and  immersed 
in  a basin  of  clean  water,  being  stirred  in  it  for  a few 
seconds,  then  taken  out,  held  up  by  a corner,  and  is 
completely  sensitive,  moist  or  dry,  to  receive  photographic 
impressions.  It  is  then  placed  in  the  camera  obscura, 
after  which  it  is  dipped  in  a bath  of  galic  acid,  to  which 
is  added  a little  of  aceto-nitrate  of  silver.  Care  is  taken 
not  to  let  the  glass  remain  too  long  in  this.  After  being 
dipped  in  the  galic  acid,  it  is  washed  in  water,  and  then 
immersed  in  a solution  of  the  bromide  of  potassium,  (20 
parts  to  100  of  wTater,)  after  which  it  is  carefully  and  well 
washed  in  water,  and  left  to  dry  in  a horizontal  position 
in  a dark  room. 


CHAP.  X. 


CYANOTYPE— ENERGIATYPE CHROMA  TYPE ANTHOTYPE— 

AMPHITYPE  AND  U CRAYON  DAGUERREOTYPE. v 

The  several  processes  enumerated  at  the  head  of  this 
chapter,  are  all  discoveries  of  English  philosophers,  with 
the  exception  of  the  third  and  last  named.  Anthotype  was 
first  attempted  by  M.  Ponton  a French  savan,  although  it 
was  reserved  to  Mr.  Hunt  to  bring  the  process  to  its  pre- 
sent state.  The  u Crayon  Daguerreotype  ” is  an  im- 
provement made  by  J.  A Whipple,  Esq.,  of  Boston 

I.  CYANOTYPE  ; 

So  called  from  the  circumstance  of  cyanogen  in  its 
combinations  with  iron  performing  a leading  part  in  the 
process.  It  was  discovered  by  Sir  John  Herschel.  The 
process  is  a simple  one,  and  the  resulting  pictures  are 
blue. 

Brush  the  paper  over  with  a solution  of  the  ammonio- 
citrate  of  iron.  This  solution  should  be  sufficiently 
strong  to  resemble  sherry  wine  in  color.  Expose  the 
paper  in  the  usual  way,  and  pass  over  it  very  sparing- 
ly and  evenly  a wash  of  the  common  yellow  ferro-cyanate 
of  potass.  As  soon  as  the  liquid  is  applied,  the  negative 
picture  vanishes,  and  is  replaced  by  a positive  one,  of  a 
violet  blue  color,  on  a greenish  yellow  ground,  which  at 
a certain  time  possesses  a high  degree  of  sharpness,  and 
singular  beauty  of  tint. 


114 


CYANOTYPE. 


A curious  process  was  discovered  by  Sir  John  Hers- 
chel,  by  which  dormant  pictures  are  produced  capable  ot 
developement  by  the  breath,  or  by  keeping  in  a moist  at- 
mosphere. It  is  as  follows. 

If  nitrate  of  silver,  specific  gravity  1.200  be  added  to 
ferro-tartaric  acid,  specific  gravity  1.023,  a precipitate 
falls,  which  is  in  a great  measure  redissolved  by  a gentle 
heat,  leaving  a black  sediment,  which,  being  cleared  by 
subsidence,  a liquid  of  a pale  yellow  color  is  obtained,  in 
which  the  further  addition  of  the  nitrate  causes  no  tur- 
bidness. When  the  total  quantity  of  the  nitrated  solu- 
tion added  amounts  to  about  half  the  bulk  of  the  ferro- 
tartaric  acid,  it  is  enough.  The  liquid  so  prepared  does 
not  alter  if  kept  in  the  dark.  Spread  on  paper,  and  ex- 
posed wet  to  the  sunshine  (partly  shaded)  for  a few  se- 
conds, no  impression  seems  to  be  made,  but  by  degrees, 
although  withdrawn  from  the  action  of  light,  it  developes 
itself  spontaneously,  and  at  length  becomes  very  intense. 
But  if  the  paper  be  thoroughly  dried  in  the  dark,  (in 
which  state  it  is  of  a very  pale  greenish  yellow  color,)  it 
possesses  the  singular  property  of  receiving  a dormant  or 
invisible  picture,  to  produce  which  from  thirty  to  sixty 
seconds’  exposure  to  sunshine  is  requisite.  It  should  not 
lie  exposed  too  long,  as  not  only  is  the  ultimate  effect 
less  striking,  but  a picture  begins  to  be  visibly  produced, 
which  darkens  spontaneously  after  it  is  withdrawn.  But 
if  the  exposure  be  discontinued  before  this  effect  comes 
on,  an  invisible  impression  is  the  result,  to  develope  which 
all  that  is  necessary  is  to  breathe  upon  it,  when  it  im- 
mediately appears,  and  very  speedily  acquires  an  extra- 
ordinary intensity  and  sharpness,  as  if  by  magic.  Instead 
of  the  breath,  it  may  be  subject  to  the  regular  action  ot 
aqueous  vapor,  by  laying  it  in  a blotting  paper  book,  of 


ENERGIATYPE. 


115 


which  some  of  toe  outer  leaves  on  both  sides  have  been 
dampened,  or  by  holding  over  warm  water. 

II.  ENERGIATYPE. 

Under  this  title  a process  has  been  brought  forward  by 
Mr.  Hunt.  It  consists  of  the  application  of  a solution  of 
succinic  acid  to  paper,  which  is  subsequently  washed 
over  with  nitrate  of  silver.  The  image  is  then  to  be 
taken  either  in  the  camera  or  otherwise,  as  required,  and 
is  brought  out  by  the  application  of  the  sulphate  of  iron 
in  solution.  Although  this  process  has  not  come  into 
general  use,  its  exact  description  may  be  interesting  to 
the  general  reader,  and  we  therefore  subjoin  it. 

The  solution  with  which  the  paper  is  first  washed  is 
to  be  prepared  as  follows : succinic  acid,  two  drachms  ; 
common  salt,  five  grains  ; mucilage  of  gum  arabic,  half 
a fluid  drachm;  distilled  water,  one  fluid  drachm  and  a 
half.  When  the  paper  is  nearly  dry,  it  is  to  be  brushed 
over  with  a solution  of  nitrate  of  silver,  containing  a 
drachm  of  the  salt,  to  an  ounce  of  distilled  water.  It  is 
now  ready  for  exposure  in  the  camera.  To  bring  out 
the  dormant  picture  it  is  necessary  to  wash  it  with  a 
mixture  of  a drachm  of  concentrated  solution  of  the  green 
sulphate  of  iron  and  two  drachms  and  a half  of  mucilage 
of  gum  arabic. 

Subsequently,  however,  it  has  been  found  that  the 
sulphate  of  iron  produces  upon  all  the  salts  of  silver  ef- 
fects quite  as  beautiful  as  in  the  succinate.  On  the  io- 
dide, bromide,  acetate,  and  benzoate,  the  effects  are  far 
more  pleasing  and  striking.  When  pictures  are  pro- 
duced, or  the  dormant  camera  image  brought  out,  by  the 
agency  of  sulphate  of  iron,  it  is  remarkable  how  rapidly 
the  effect  takes  place.  Engravings  can  be  thus  copied 
almost  instantaneously,  and  camera  views  obtained  in  one 


116 


CHROMATYPE. 


or  two  minutes  on  almost  any  preparation  of  silver.  The 
common  sulphate  of  copper  solution  has  the  same  pro- 
perty. 

III.  CHROMATYPE. 

Many  efforts  have  been  made  to  render  chromatic  acid 
an  active  agent  in  the  production  of  photographs.  M. 
Ponton  used  a paper  saturated  with  bichromate  of  potash, 
and  this  was  one  of  the  earliest  photogenic  processes. 
M.  Becquerel  improved  upon  this  process  by  sizing  the 
paper  with  starch  previous  to  the  application  of  the  bi- 
chromate of  potash  solution,  which  enabled  him  to  con- 
vert the  negative  picture  into  a positive  one,  by  the  use 
of  a solution  of  iodine,  which  combined  with  that  por- 
tion of  the  starch  on  which  the  light  had  not  acted.  But 
by  neither  of  these  processes  could  clear  and  distinct 
pictures  be  formed.  Mr.  Hunt  has,  however,  disco- 
vered a process  which  is  so  exceedingly  simple,  and  the 
resulting  pictures  of  so  pleasing  a character,  that,  al- 
though it  is  not  sufficiently  sensitive  for  use  in  the  ca- 
mera, it  will  be  found  of  the  greatest  value  for  copying 
botanical  specimens,  engravings,  or  the  like. 

The  paper  to  be  prepared  is  washed  over  with  a solu- 
tion of  sulphate  of  copper — about  one  drachm  to  an 
ounce  of  water — and  partially  dried  ; it  is  then  washed 
with  a moderately  strong  solution  of  bichromate  of  pot- 
ash, and  dried  at  a little  distance  from  the  fire.  Paper 
thus  prepared  may  be  kept  any  length  of  time,  in  a port- 
folio, and  are  always  ready  for  use. 

When  exposed  to  the  sunshine  for  a time,  varying 
with  the  intensity  of  the  light,  from  five  to  fifteen  or 
twenty  minutes,  the  result  is  generally  a negative  pic- 
ture. It  is  now  to  be  washed  over  with  a solution  of  ni- 
trate of  silver,  which  immediately  produces  a very  beau- 


ANTHOTYPE. 


117 


tiful  deep  orange  picture  upon  a light  dim  colored,  or 
sometimes  perfectly  white  ground.  This  picture  must 
be  quickly  fixed,  by  being  washed  in  pure  water,  and 
dried.  With  regard  to  the  strength  of  the  solutions,  it 
is  a remarkable  fact,  that,  if  saturated  solutions  be  em- 
ployed, a negative  picture  is  first  produced,  but  if  the 
solutions  be  three  or  four  times  their  bulk  of  water,  the 
first  action  of  the  sun’s  rays  darkens  the  picture,  and 
then  a very  bleaching  effect  follows,  giving  an  exceed- 
ingly faint  positive  picture,  which  is  brought  out  with 
great  delicacy  by  the  silver  solution. 

It  is  necessary  .hat  pure  water  should  be  used  for  the 
fixing,  as  the  presence  of  any  muriate  damages  the  pic- 
ture, and  here  arises  another  pleasing  variation  of  the 
Chromatype.  If  the  positive  picture  be  placed  in  a very 
weak  solution  of  common  salt  the  image  slowly  fades  out, 
leaving  a faint  negative  outline.  If  it  now  be  removed 
from  the  saline  solution,  dried,  and  again  exposed  to 
sunshine,  a positive  picture  of  a lilac  color  will  be  pro- 
duced by  a few  minutes  exposure.  Several  other  of  the 
chromates  may  be  used  in  this  process,  but  none  is  so 
successful  as  the  chromate  of  copper. 

IV.  ANTHOTYPE. 

The  expressed  juice,  alcholic,  or  watery  infusion  of 
flowers,  or  vegetable  substances,  may  be  made  the  media 
of  photogenic  action.  This  fact  was  first  discovered  by 
Sir  John  Herschel.  We  have  already  given  a few  ex- 
amples of  this  in  the  third  chapter. 

Certain  precautions  are  necessary  in  extracting  the  co- 
loring matter  of  flowers.  The  petals  of  fresh  flowers  are 
carefully  selected,  and  crushed  to  a pulp  in  a marble  mor- 
tar, either  alone  or  with  the  addition  of  a little  alcohol, 
and  the  juice  expressed  by  squeezing  the  pulp  in  a clean 


118 


ANTHOTYPE. 


linen  or  cotton  cloth.  It  is  then  to  be  spread  upon  paper 
with  a flat  brush,  and  dried  in  the  air  without  artificial 
heat.  If  alcohol  be  not  added,  the  application  on  paper 
must  be  performed  immediately,  as  the  air  (even  in  a 
few  minutes),  irrecoverably  changes  or  destroys  their 
color.  If  alcohol  be  present  this  change  is  much  retard- 
ed, and  in  some  cases  is  entirely  prevented. 

Most  flowers  give  out  their  coloring  matter  to  alcohol 
or  water.  Some,  however,  refuse  to  do  so,  and  require 
the  addition  of  alkalies,  others  of  acid,  &c.  Alcohol 
has,  however,  been  found  to  enfeeble,  and  in  many  cases 
to  discharge  altogether  these  colors  ; but  they  are,  in 
most  cases,  restored  upon  drying,  when  spread  over  pa- 
per. Papers  tinged  with  vetegable  colors  must  always 
be  kept  in  the  dark,  and  perfectly  dry. 

The  color  of  a flower  is  by  no  means  always,  or 
usually,  that  which  its  expressed  juice  imparts  to  white 
paper.  Sir  John  Herschel  attributes  these  changes  to  the 
escape  of  carbonic  acid  in  some  cases  ; to  a chemical  al- 
teration, depending  upon  the  absorption  of  oxygen,  in 
others;  and  again  in  others,  especially  where  the  ex- 
pressed juice  coagulates  on  standing,  to  a loss  of  vitality, 
or  disorganization  of  the  molecules.  To  secure  an 
eveness  of  tint  on  paper,  the  following  manipulation  is 
recommended: — The  paper  should  be  moistened  on  the 
back  by  sponging  and  blotting  off.  It  should  then  be 
pinned  on  a board,  the  moist  side  downwards,  so  that 
two  of  its  edges  (suppose  the  right-hand  and  lower  ones) 
shall  project  a little  beyond  those  of  the  board.  The 
board  then  being  inclined  twenty  or  thirty  degrees  to  the 
horizon,  the  alcoholic  tincture  (mixed  with  a very  little 
water,  if  the  petals  themselves  be  not  very  juicy)  is  to 
be  applied  with  a brush  in  strokes  from  left  to  right, 


ANTHOTYPE. 


119 


taking  care  not  to  go  over  the  edges  which  rest  on  the 
board  ; but  to  pass  clearly  over  those  that  project ; and 
observing  also  to  carry  the  tint  from  below  upwards  by 
quick  sweeping  strokes,  leaving  no  dry  spaces  between 
them,  but  keeping  up  a continuity  of  wet  spaces.  When 
all  is  wet,  cross  them  by  another  set  of  strokes  from 
above  downwards,  so  managing  the  brush  as  to  leave  no 
floating  liquid  on  the  paper.  It  must  then  be  dried  as 
quickly  as  possible  over  a stove,-  or  in  a warm  current  of 
air,  avoiding,  however,  such  heat  as  may  injure  the 
tint. 

In  addition  to  the  flowers  already  mentioned  in  my 
third  chapter,  the  following  are  among  those  experiment- 
ed upon  and  found  to  give  tolerable  good  photographic 
sensitives.  I can  only  enumerate  them,  referring  the 
student,  for  any  further  information  he  may  desire  on  the 
subject,  to  Mr.  Hunt’s  work  ; although  what  I have  said 
•above  is  sufficient  for  all  practical  purposes  ; and  any 
one,  with  the  ambition,  can  readily  experiment  upon 
them,  without  further  research,  on  any  other  flower  he 
may  choose. 

Viola  Odorata—ov  sweet  sented  violet,  yields  to  alco- 
hol a rich  blue  color,  which  it  imparts  in  high  perfec- 
tion to  paper 

Senecio  Splendens—or  double  purple  groundsel,  yields 
a beautiful  color  to  paper. 

The  leaves  of  the  laurel,  common  cabbage,  and  the 
grasses,  are  found  sufficiently  senstive. 

Common  Merngold  yields  an  invaluable  fsecula,  which 
appears  identical  with  that  produced  by  the  Wall-flower, 
and  Cochorus  japonica  mentioned  before,  and  is  very 
sensitive,  but  photographs  procured  upon  it  cannot  be 

preserved,  the  color  is  so  fugitive, 

* 6# 


120 


AMPHITYPE 


From  an  examination  of  the  researches  of  Sir  John 
Herschel  on  the  coloring  matter  of  plants,  it  will  be 
seen  that  the  action  of  the  sun’s  rays  is  to  destroy  the 
color,  effecting  a sort  of  chromatic  analysis,  in  which 
two  distinct  elements  of  color  are  separated,  by  destroy- 
ing the  one  and  leaving  the  other  outstanding.  The  ac- 
tion is  confined  within  the  visible  spectrum,  and  thus  a 
broad  distinction  is  exhibited  between  the  action  of  the 
sun’s  rays  on  vegetable  juices  and  on  argentine  com- 
pounds, the  latter  being  most  sensibly  affected  by  the  in- 
visible rays  beyond  the  violet. 

It  may  also  be  observed,  that  the  rays  effective  in  des- 
troying a given  tint,  are  in  a great  many  cases,  those 
whose  union  produces  a color  complimentary  to  the  tint 
destroyed,  or,  at  least,  one  belonging  to  that  class  of  co- 
lors to  which  such  complementary  tint  may  be  preferred. 
For  instance,  yellows  tending  towards  orange  are  de- 
stroyed with  more  energy  by  the  blue  rays  ; blues  by  the 
red,  orange  and  yellow  rays  ; purples  and  pinks  by  yel- 
low and  green  rays. 

V.  AMPHITYPE. 

This  process  is  a discovery  of  Sir  John  Herschel  and 
receives  its  name  from  the  fact  that  both  negative  and 
positive  photographs  can  be  produced  by  one  process. 
The  positive  pictures  obtained  by  it  have  a perfect  resem- 
blance to  impressions  of  engravings  with  common  prin- 
ter’s ink.  The  process,  although  not  yet  fully  carried 
out,  promises  to  be  of  vast  utility. 

Paper  proper  for  producing  an  amphitype  picture  may 
be  prepared  either  with  the  ferro-tartrate  or  the  ferro-ci- 
trate  of  the  protoxide,  or  the  peroxide  of  mercury,  or  of 
the  protoxide  of  lead,  by  using  creams  of  these  salts,  or 
by  successive  applications  of  the  nitrates  of  the  respec- 


AMPHITYPE. 


121 


tive  oxides,  singly  or  in  mixture,  to  the  paper,  alterna- 
ting with  solutions  of  the  ammonia-tartrate  or  the  ammo- 
nia-citrate of  iron,  the  latter  solution  being  last  applied, 
and  in  more  or  less  excess  I purposely  avoid  stating 
proportions,  as  I have  not  yet  been  able  to  fix  upon  any 
which  certainly  succeed.  Paper  so  prepared  and  dried 
takes  a negative  picture,  in  a time  varying  from  half  an 
hour  to  five  or  six  hours,  according  to  the  intensity  of 
the  light ; and  the  impression  produced  varies  in  apparent 
force  from  a faint  and  hardly  perceptible  picture  to  one 
of  the  highest  conceivable  fulness  and  richness  both  of 
tint  and  detail,  the  color  being  in  this  case  a superb  velvety 
brown.  This  extreme  richness  of  effect  is  not  produced 
unless  lead  be  present,  either  in  the  ingredients  used,  or 
in  the  paper  itself.  It  is  not,  as  I originally  sup- 
posed, due  to  the  presence  of  free  tartaric  acid. 
The  pictures  in  this  state  are  not  permanent.  They  fade 
in  the  dark,  though  with  very  different  degrees  of  rapidity, 
some  (especially  if  free  tartaric  or  citric  acid  be  present) 
in  a few  days,  while  others  remain  for  weeks  unimpaired, 
and  require  whole  years  for  their  total  obliteration.  But 
though  entirely  faded  out  in  appearance,  the  picture  is 
only  rendered  dormant,  and  may  be  restored,  changing 
its  character  from  negative  to  positive,  and  its  colors  from 
brown  to  black,  (in*  the  shadows),  by  the  following  pro- 
cess : — A bath  being  prepared  by  pouring  a small  quan 
tity  ot  solution  of  pernitrate  of  mercury  into  a large 
quantity  of  water,  and  letting  the  subnitrated  precipitates 
subside,  the  picture  may  be  immersed  in  it,  (carefully 
and  repeatedly  clearing  off  all  air  bubbles,)  and  allowed 
to  remain  till  the  picture  (if  any  where  visible,)  is  en- 
tirely destroyed ; or  if  faded,  till  it  is  judged  sufficient 
from  previous  experience ; a term  which  is  often  marked 


122 


AMPHITYPE. 


by  the  appearance  of  a feeble  positive  picture,  of  a bright 
yellow  hue,  on  the  pale  yellow  ground  of  the  paper.  A 
long  time  (several  weeks)  is  often  required  for  this,  but 
heat  accelerates  the  action,  and  it  is  often  completed  in  a 
few  hours.  In  this  state  the  picture  is  to  be  very  tho- 
roughly rinsed  and  soaked  in  pure  warm  water,  and  then 
dried.  It  is  then  to  be  well  ironed  with  a smooth  iron, 
heated  so  as  barely  not  to  injure  the  paper,  placing  it,  for 
greater  security  against  scorching,  between  clean  smooth 
paper.  If  then  the  process  have  been  successful,  a per- 
fectly black  positive  picture  is  at  once  developed.  At 
first  it  most  commonly  happens  that  the  whole  picture  is 
sooty  or  dingy  to  such  a degree  that  it  is  condemned  as 
spoiled,  but  on  keeping  it  between  the  leaves  of  a book, 
especially  in  a moist  atmosphere,  by  extremely  slow  de- 
grees this  dinginess  disappears,  and  the  picture  disen- 
gages itself  with  continually  increasing  sharpness  and 
clearness,  and  acquires  the  exact  effect  of  a copper-plate 
engraving  on  a paper  more  or  less  tinted  with  a pale  yel- 
low. 

I ought  to  observe,  that  the  best  and  most  uniform  spe- 
cimens which  I have  procured  have  been  on  paper  pre- 
viously washed  with  certain  preparations  of  uric  acid, 
which  is  a very  remarkable  and  powerful  photographic 
element.  The  intensity  of  the  original  negative  picture 
is  no  criterion  of  what  may  be  expected  in  the  positive 
It  is  from  the  production  by  one  and  the  same  action  of 
light,  of  either  a positive  or  negative  picture  according 
to  the  subsequent  manipulations,  that  I have  designated 
the  process,  thus  generally  sketched  out,  by  the  term 
Amphitype , — a name  suggested  by  Mr.  Talbot,  to  whom 
I communicated  this  singular  result ; and  to  this  process 
or  class  of  processes  (which  I cannot  doubt  when  pur- 


AMPHITYPE.  123 

sued  will  lead  to  some  very  beautiful  results,)  1 propose 
to  restrict  the  name  in  question,  though  it  applies  even 
more  appropriately  to  the  following  exceedingly  curious 
and  remarkable  one,  in  which  silver  is  concerned  : 

At  the  last  meeting  I announced  a mode  of  producing, 
by  means  of  a solution  of  silver,  in  conjunction  with 
ferro-tartaric  acid,  a dormant  picture  brought  into  a for- 
cible negative  impression  by  the  breath  or  moist  air.  ( See 
Cyanotype.)  The  solution  then  described,  and  which 
had  at  that  time  been  prepared  some  weeks,  I may  here 
incidentally  remark,  has  retained  its  limpidity  and  photo- 
genic properties,  quite  unimpaired  during  the  whole  year 
since  elapsed,  and  is  now  as  sensitive  as  ever, — a property 
of  no  small  value.  Now,  when  a picture  (for  example 
an  impression  from  an  engraving)  is  taken  on  paper 
washed  with  this  solution,  it  shows  no  sign  of  a picture 
on  its  back,  whether  that  on  its  face  is  developed  or  not ; 
but  if,  while  the  actinic  influence  is  still  fresh  upon  the 
face,  (i.e.,  as  soon  as  it  is  removed  from  the  light),  the 
back  be  exposed  for  a very  few  seconds  to  the  sunshine, 
and  then  removed  to  a gloomy  place,  a positive  picture , 
the  exact  complement  of  the  negative  one  on  the  other  side , 
though  wanting  of  course  in  sharpness  if  the  paper  be 
thick,  slowly  and  gradually  makes  its  appearance  there, 
and  in  half  an  hour  or  an  hour  acquires  a considerable  in- 
tensity. I ought  to  mention  that  the  u ferro-tartaric 
acid”  in  question  is  prepared  by  precipitating  the  ferro- 
tartrate  of  ammonia  (ammonia-tartrate  of  iron)  by  ace- 
tate of  lead,  and  decomposing  the  precipitate  by  dilute 
sulphuric  acid.  When  lead  is  used  in  the  preparation 
of  Amphitype  paper,  the  parts  upon  which  the  light  has 
acted  are  found  to  be  in  a very  high  degree  rendered -wa- 
ter proof  . — Sir  J.  Herschcl 


124 


CRAYON  DAGUERREOTYPE. 


This  process  is  a new  invention  of  our  countryman, 
J.  A.  Whipple,  Esq.,  of  Boston,  and  has  been  patented 
by  M.  A.  Root,  Esq.,  of  Philadelphia.  It  will  be  seen, 
however,  from  the  previous  pages  of  my  work  that  Mr. 
Root  is  mistaken  in  regard  to  his  being  the  first  improve- 
ment patented  in  this  country,  althongh  it  is  unquestion- 
ably the  first  by  an  American.  Of  this  improvement 
Mr.  Root  says : 

VI.  U CRAYON  DAGUERREOTYPE.” 

“ The  improvement  to  which  you  refer  is  denominated 
u The  Crayon  Daguerreotype.”  This  invention  made  by 
Mr.  J.  A.  Whipple,  is  the  only  improvement  in  Daguer- 
reotyping,  I believe,  for  which  Letters  Patent  for  the 
United  States  were  ever  issued.  The  pictures  produced 
by  this  process — which  is  of  the  simplest  description 
imaginable — have  the  appearance  and  effect  of  very  fine 
u Crayon  Drawings,”  from  which  the  improvement  takes 
its  name.  Some  of  our  most  distinguished  artists  have 
given  it  their  unqualified  admiration.  Among  them,  our 
Mezzotinto  Engravers,  especially  John  Sartain,  Esq., 
who,  from  his  rich  embellishments  to  most  of  the  leading 
Magazines  and  Annuals  of  the  country,  as  well  as  from 
the  celebrity  of  the  superb  Magazine  which  bears  his 
name,  is  so  well  known  and  so  well  qualified  to  judge  of 
its  merits.  As  an  auxiliary  to  the  artist,  in  furnishing 
heads  to  the  Magazines,  or  other  works,  it  is  invaluable; 
the  great  object  which  it  accomplishes  being  to  give  a 
finer  effect  and  more  distinct  expression  to  all  the  features — 
the  whole  power  of  the  instrument  being  directed  to,  and 
confined  to  the  head.” 

u The  late  hour  at  which  this  subject  has  been  brought 
to  our  notice  prevents  so  full  a description  as  we  would 
otherwise  have  been  glad  to  furnish.  The  New  England 


CRAYON  DAGUERREOTYPE. 


125 


States  have  been  disposed  of ; negotiations  for  any  of  the 
others  can  be  made  through  M.  A.  Root,  140  Chestnut 
street,  Philadelphia.  ” 

u A series  of  beautiful  portraits  are  about  being  pre- 
pared by  the  u Crayon  Process’’  for  the  express  purpose 
of  being  placed  on  the  exhibition  at  the  u Art  Union, ’' 
when  amateurs,  artists,  and  the  public  generally  will 
have  an  opportunity  of  witnessing  its  effect.  We  are  es- 
pecially gratified  with  this  striking  improvement,  from 
the  advantages  which  it  promises  to  the  Daguerrean  art.” 

“ It  is  admirably  designed  to  excite  a new  interest  on 
the  subject  through  the  community,  and  in  this  way-— and 
from  its  tendency  to  render  the  art  more  generally  useful, 
and  to  elevate  and  distinguish  it — to  make  it  to  all  a mat- 
ter of  more  general  importance.’’ 

“ Yours  respectfully, 

“ M.  A.  Root.” 

In  our  second  edition,  we  hope— with  Mr.  Root’s  per- 
mission— to  lay  the  whole  process  before  the  public,  al- 
though our  artists  must  bear  in  mind  that  Mr.  Root’s  pa- 
tent secures  to  him  the  exclusive  right  of  its  application. 


- 

. 


CHAP.  XL 


ON  THE  PROBABILITY  OF  PRODUCING  COLORED  PICTURES 
BY  THE  SOLAR  RADIATIONS PHOTOGRAPHIC  DEVIA- 

TIONS—LUNAR  PICTURES— -DRUMMOND  LIGHT. 

Having  before  noticed  the  fact  that  some  advances  had 
been  made  towards  taking  Daguerreotypes  in  color,  by 
means  of  solar  rays,  and  expressed  the  hope  that  the  day 
was  not  far  distant  when  this  might  be  accomplished,  I 
here  subjoin  Mr.  Hunt’s  remarks  on  this  subject. 

Mr.  Biot,  in  1840,  speaking  of  Mr.  Fox  Talbot’s 
beautiful  calotype  pictures,  considers  as  an  illusion  u the 
hope  to  reconcile,  not  only  the  intensity  but  the  tints  of 
the  chemical  impressions  produced  by  radiations,  with 
the  colors  of  the  object  from  which  these  radiations  ema- 
nated.” It  is  true  that  three  years  have  passed  away,  and 
we  have  not  yet  produced  colored  images ; yet  I am  not 
inclined  to  consider  the  hope  as  entirely  illusive. 

It  must  be  remembered  that  the  color  of  bodies  de- 
pends entirely  upon  the  arrangement  of  their  molecules. 
We  have  numerous  very  beautiful  experiments  in  proof  of 
this.  The  bi-niodide  of  mercury  is  a fine  scarlet  when 
precipitated.  If  this  precipitate  is  heated  between  plates 
of  glass,  it  is  converted  into  crystals  of  a fine  sulphur 
yellow,  which  remain  of  that  color  if  undisturbed,  but 
which  becomes  very  speedily  scarlet  if  touched  with  any 
pointed  instrument.  This  very  curious  optical  phenome- 


128 


ON  PRODUCING  COLORED  PICTURES. 


na  has  been  investigated  by  Mr.  Talbot  and  by  Mr.  War- 
rington.  Perfectly  dry  sulphate  of  copper  is  white  ; the 
slightest  moisture  turns  it  blue.  Muriate  of  cobalt  is  of 
a pale  pink  color;  a very  slight  heat,  by  removing  a lit- 
tle moisture,  changes  it  to  a green.  These  are  a few  in- 
stances selected  from  many  which  might  be  given. 

If  we  receive  a prismatic  spectrum  on  some  papers,  we 
have  evidence  that  the  molecular  or  chemical  disturbance 
bears  some  relation  to  the  color  of  each  ray,  or,  in  other 
words,  that  colored  light  so  modifies  the  action  of  Ener- 
gia  that  the  impression  it  makes  is  in  proportion  to  the 
color  of  the  light  it  accompanies,  and  hence  there  results 
a molecular  arrangement  capable  of  reflecting  colors  dif- 
ferently. Some  instances  have  been  given  in  which  the 
rays  impressed  correspond  with  the  colors  of  the  lumin- 
ous rays  in  a very  remarkable  manner.*  One  of  the  most 
decided  cases  is  that  of  the  paper  prepared  with  the  fluo- 
ride of  soda  and  nitrate  of  silver.  Sir  John  Herschel 
was,  however,  the  first  to  obtain  any  good  specimens  of 
photographically  impressed  prismatic  colorations. 

It  was  noticed  by  Daguerre  that  a red  house  gave  a 
reddish  image  on  his  iodized  silver  plate  in  the  camera 
obscura;  and  Mr.  Talbot  observed,  very  early  in  his  re- 
searches, that  the  red  of  a colored  print  was  copied  of  a 
red  color,  on  paper  spread  with  the  chloride  of  silver.* 

u In  1840  I communicated  to  Sir  John  Herschel  some 
very  curious  results  obtained  by  the  use  of  colored  me- 
dia, which  he  did  me  the  honor  of  publishing  in  one  of 

* See  Mr.  Hunt’s  “ Researches  on  Light.” 

t In  1842,  I had  shown  me  a picture  of  a house  in  the  Bowery,  which  had 
been  repaired  a few  days  previous,  and  in  the  wall  a red  brick  left.  This 
brick  was  brought  out  on  the  Daguerreotype  plate  of  precisely  the  same  color 
as  the  brick  itself.  The  same  artist  also  exhibited  to  me,  the  full  length  por- 
trait of  a gentleman  who  wore  a pair  of  pantaloons  having  a blue  striped 
figsre.  This  blue  stripe  was  fully  brought  out,  of  the  same  color,  in  the  pic- 
ture.— Amer.  Ed 


ON  PRODUCING  COLORED  PICTURES. 


129 


his  memoirs  on  the  subject  from  which  I again  copy  it.’* 

u A paper  prepared  with  muriate  of  barytes  and  ni- 
trate of  silver,  allowed  to  darken  whilst  wet  in  the  sun 
shine  to  a chocolate  color,  was  placed  under  a frame  con- 
taining  a red,  a yellow,  a green,  and  a blue  glass.  After 
a week’s  exposure  to  diffused  light,  it  became  red  under 
the  red  glass,  a dirty  yellow  under  the  yellow  glass,  a 
dark  green  under  the  green,  and  a light  olive  under  the 
blue. 

u The  above  paper  washed  with  a solution  of  salt  of 
iodine,  is  very  sensitive  to  light,  and  gives  a beautiful 
picture.  A picture  thus  taken  was  placed  beneath  the 
above  glasses,  and  another  beneath  four  flat  bottles  con- 
taining colored  fluids.  In  a few  days,  under  the  red  glass 
and  fluid,  the  picture  became  a dark  blue,  under  the  yel- 
low a light  blue,  under  the  green  it  remained  unchanged, 
whilst  under  the  blue  it  became  a rose  red,  which  in 
about  three  weeks  changed  into  green.  Many  other  ex- 
periments of  a similar  nature  have  been  tried  since  that 
time  with  like  results. 

u In  the  summer  of  1843,  when  engaged  in  some  expe- 
riments on  papers  prepared  according  to  the  principles  of 
Mr.  Talbot’s  calotype,  I had  placed  in  a camera  obscura 
a paper  prepared  with  the  bromide  of  silver  and  gallic 
acid.  The  camera  embraced  a picture  of  a clear  blue 
sky,  stucco-fronted  houses,  and  a green  field.  The  pa- 
per was  unavoidably  exposed  for  a longer  period  than 
was  intended — about  fifteen  minutes, — a very  beautiful 
picture  was  impressed,  which,  when  held  between  the 
eye  and  the  light,  exhibited  a curious  order  of  colors. 
The  sky  was  of  a crimson  hue,  the  houses  of  a slaty  blue- 
and  the  green  fields  of  a brick  red  tint.  Surely  these  re- 
sults appear  to  encourage  the  hope,  that  we  may  even- 


130 


PHOTOGRAPHIC  DEVIATIONS. 


tually  arrive  at  a process  by  which  external  nature  may 
be  made  to  impress  its  images  on  prepared  surfaces,  in  all 
the  beauty  of  their  native  coloration.” 

PHOTOGRAPHIC  DEVIATIONS. 

Before  taking  leave  of  the  subject  of  photogenic  draw- 
ing, I must  mention  one  or  two  facts,  which  may  be  of 
essential  service  to  operators. 

It  has  been  observed  by  Daguerre,  and  others,  in  Eu- 
rope, and  probably  by  some  of  our  own  artists,  that  the 
sun  two  hours  after  it  has  passed  the  meridian,  is  much 
less  effective  in  the  photographic  process,  than  it  is  two 
hours  previous  to  its  having  reached  that  point.  This 
may  depend  upon  an  absorptive  power  of  the  air,  which 
ma}’-  reasonably  be  supposed  to  be  more  charged  with  va- 
por two  hours  before  noon.  The  use  of  the  hygrometer 
may  possibly  establish  the  truth  or  falsity  of  this  supposi- 
tion. The  fact,  however,  of  a better  result  being  pro- 
duced before  noon  being  established,  persons  wishing 
their  portraits  taken,  will  see  the  advantage  of  obtaining 
an  early  sitting,  if  they  wish  good  pictures.  On  the 
other  hand,  if  the  supposition  above  mentioned  prove 
true,  a too  early  sitting  must  be  avoided. 

If  we  take  a considerable  thickness  of  a dense  purple 
fluid,  as,  for  instance,  a solution  of  the  ammonia-sul- 
phate of  copper,  we  shall  find  that  the  quantity  of  light 
is  considerably  diminished,  at  least  four -fifths  of  the  lu- 
minous rays  being  absorbed,  while  the  chemical  rays 
permeate  it  with  the  greatest  facility,  and  sensitive  pre- 
parations are  affected  by  its  influence,  notwithstanding 
the  deficiency  of  light,  nearly  as  powerfully  as  if  exposed 
to  the  undecomposed  sunbeams. 

It  was  first  imagined  that  “ under  the  brilliant  sun  and 
clear  skies  of  the  south,  photographic  pictures  would 


LUNAR  PICTURES DRUMMOND  LIGHT.  131 

be  produced  with  much  greater  quickness  than  they  could 
be  in  the  atmosphere  of  Paris.  It  is  found,  however, 
that  a much  longer  time  is  required.  Even  in  the  clear 
and  beautiful  light  of  the  higher  Alps,  it  has  been  proved 
that  the  production  of  the  photographic  picture  requires 
many  minutes  more,  even  with  the  most  sensitive  pre- 
parations, than  it  does  in  London.  It  has  also  been 
found  that  under  the  brilliant  light  of  Mexico,  twenty 
minutes,  and  half  an  hour,  are  required  to  produce  ef- 
fects which  in  England  would  occupy  but  a minute;  and 
travellers  engaged  in  copying  the  antiquities  of  Yucatan 
have  on  several  occasions  abandoned  the  use  of  the  pho- 
tographic camera,  and  taken  to  their  sketch  books.  Dr. 
Draper*  has  observed  a similar  difference  between  the 
chemical  action  of  light  in  New  York  and  Virginia. 
This  can  be  only  explained  by  the  supposition  that  the 
intensity  of  the  light  and  heat  of  these  climes  interferes 
with  the  action  of  the  Energic  rays  on  those  sensitive 
preparations  which  are  employed. 

LUNAR  PICTURES DRUMMOND  LIGHT. 

The  Roman  Astronomers  state  that  they  have  pro- 
cured Daguerreotype  impressions  of  the  Nebula  of  the 
sword  of  Orion.  Signor  Rondini  has  a secret  method  of 
receiving  photographic  images  on  lithographic  stone  ; on 
such  a prepared  stone  they  have  succeeded  in  impressing 
an  image  of  the  Nebula  and  its  stars  ; “ and  from  that 
stone  they  have  been  enabled  to  take  impressions  on  pa- 
per, unlimited  in  number,  of  singular  beauty,  and  of 
perfect  precision.”  Experiments  have,  however,  proved 
that  u no  heating  power  exists  in  the  moon’s  rays,  and 
that  lunar  light  will  not  act  chemically  upon  the  iduret  of 
silver.” 


* I would  bere  take  occasion  to  remark  that  our  countryman,  Dr.  Draper,  is 
very  frequently  quoted  by  Mr,  Huut  in  his  “ Researches.” 


332 


DRUMMOND  LIGHT. 


It  was  at  one  time  supposed  that  terrestrial  or  artificial 
light  possessed  no  chemical  rays,  but  this  is  incorrect— 
Mr.  Brande  discovered  that  although  the  concentrated 
light  of  the  moon,  or  the  light  even  of  olefiant  gas,  how- 
ever intense,  had  no  effect  on  chloride  of  silver,  or  on  a 
mixture  of  chloride  and  hydrogen,  yet  the  light  emitted 
by  electerized  charcoal  blackens  the  salt.  At  the  Royal 
Polytechnic  Institution  pictures  have  been  taken  by  means 
of  sensitive  paper  acted  upon  by  the  Drummond  Light ; 
but  it  must  of  course  be  distinctly  understood,  that  they 
are  inferior  to  those  taken  by  the  light  of  the  sun,  or  dif- 
fused daylight.  • 

If  our  operators  could  manage  to  produce  good  pic- 
tures in  this  way  they  would  put  money  in  their  pockets, 
as  many  who  cannot  find  time  during  the  day  would  re- 
sort to  their  rooms  at  night.  I throw  out  the  hint  in 
hopes  some  one  will  make  the  experiment. 

I have  learned,  since  the  above  was  written,  that  an 
operator  in  Boston  succeeded  a short  time  since  in  pro- 
curing very  good  pictures  by  the  aid  of  the  Drummond 
Light;  but  that  the  intensity  of  the  light  falling  directly 
upon  the  sitter’s  face  caused  great  difficulty,  and  he  aban- 
doned it.  This  may,  probably,  be  remedied  by  inter- 
posing a screen  of  very  thin  tissue  paper  tinged  slightly  of 
a bluish  color. 

TO  TAKE  COLORED  DAGUERREOTYPES. 

Since  our  first  edition  was  published,  the  following  pro- 
cess has  been  discovered  in  Europe : 

“ A silver  plate,  such  as  is  employed  in  the  Daguerreo- 
type process,  is  connected  by  a copper  wire  with  one  pole 
of  a galvanic  battery ; a piece  of  platina  foil  being  con- 
nected by  a copper  wire  likewise,  with  the  other  pole.  A 


COLORED  DAGUERREOTYPES. 


133 


solution  of  muriatic  acid  in  water  being  prepared — about 
one  part  acid  to  two  of  water — the  plate  and  platina  are 
plunged  into  it,  and  brought  near  each  other,  but  not  in 
contact.  Of  course,  the  circuit  being  made  up  through 
the  acid  solution,  a chemical  action  is  established  over 
the  surface  of  the  silver  plate  ; the  chlorine  of  the  decom- 
posed muriatic  acid  attacking  the  silver  and  forming  chlo- 
ride of  silver  over  the  surface.  As  the  film  of  chloride  of 
silver  is  produced,  and  gradually  thickens,  it  passes 
through  the  colors  of  Newton’s  thin  plates,  and  at  length 
assumes  a lilac,  which  is  the  sensitive  coating.  These 
plates  have  not  yet  been  rendered  sufficiently  sensitive  to 
ensure  any  action,  except  from  the  direct  rays  of  the  sun. 
But  if  a prismatic  spectrum,  of  a well  defined  character, 
is  allowed  to  fall  upon  the  prepared  plate,  it  will  be  found, 
after  an  exposure  of  a few  minutes,  that  a distinct  im- 
pression of  the  seven  colored  rays  are  obtained  in  color . 
every  ray  being  represented  by  its  own  color  on  the  plate, 
the  red  being  the  most  intense,  and  the  yellow  the  least  so. 


CHAP.  XII. 


* 


ON  COLORING  DAGUERREOTYPES. 


Nearly,  if  not  quite  all  the  various  colors  used  in 
painting  may  be  made  from  the  five  primitive  colors, 
black,  white,  blue,  red  and  yellow,  but  for  the  Daguer- 
rean  artist  it  would  be  the  best  policy  to  obtain  such  as 
are  required  by  their  art  already  prepared.  In  a majority 
of  cases,  the  following  will  be  found  sufficient,  viz. 

Carmine. 

Prussian  Blue. 

White. 

Chrome  Yellow,  Gamboge,  Yellow  Ochre;  or  all 
three/ 

Light  Red. 

Indigo. 

Burnt  Sienna. 

Bistre,  or  Burnt  Umber. 

If,  in  coloring  any  part  of  a lady’s  or  gentleman’s 
apparel,  it  is  found  necessary  to  produce  other  tints  and 
shades,  the  following  combinations  may  be  used  : 

Orange- — Mix  yellow  with  red,  making  it  darker  or 
lighter  by  using  more  or  less  red. 

Purple — This  is  made  with  Prussian  blue,  or  indigo 
and  red.  Carmine  and  Prussian  blue  producing  the 


Gamboge  is  best  for  drapery ; Ochre  for  the  face. 


136 


ON  COLORING  DAGUERREOTYPES. 


richest  color,  which  may  be  deepened  in  the  shadows  by 
a slight  addition  of  indigo  or  brown. 

Greens — Prussian  blue  and  gamboge  makes  a very  fine 
green,  which  may  be  varied  to  suit  the  taste  of  the  sit- 
ter or  operator,  #y  larger  portions  of  either,  or  by  adding 
white,  burnt  sienna,  indigo,  and  red,  as  the  case  may 
require.  These  combinations,  under  different  modifica- 
tions, give  almost  endless  varieties  of  green. 

Brown — May  be  made  of  different  shades  of  umber, 
carmine  and  lamp-black. 

Neutral  tint — Is  composed  of  indigo  and  lamp-black. 

Crimson — Mix  carmine  and  white,  deepening  the 
shaded  parts  of  the  picture  with  additional  carmine. 

Flesh  Color — The  best  representative  of  flesh  color  is 
light  red,  brightened  in  the  more  glowing  or  warmer 
parts,  with  carmine,  softened  off  in  the  lighter  portions 
with  white,  and  shaded  with  purple  and  burnt  sienna. 

Lead  Color — Mix  indigo  and  white  in  proportions  to 
suit. 

Scarlet — Carmine  and  light  red. 

For  Jewelry  cups  of  gold  and  silver  preparations  ac- 
company each  box  for  Daguerreotypists,  or  may  be  pro- 
cured separately. 

The  method  of  laying  colors  on  Daguerreotypes  is  one 
of  considerable  difficulty,  inasmuch  as  they  are  used  in 
the  form  of  perfectly  dry  impalpable  powder.  The  au- 
thor of  this  little  work  is  now  experimenting,  in  order, 
if  possible,  to  discover  some  more  easy,  artistic  and  un- 
exceptionable method.  If  successful,  the  result  will  be 
published  in  a future  edition. 

The  rules  we  shall  give  for  coloring  Daguerreotypes 
depends,  and  are  founded,  upon  those  observed  in  mi- 
niature painting,  and  are  intended  more  as  hints  to  Da- 


ON  COLORING  DAGUERREOTYPES. 


137 


guerrean  artists,  in  hopes  of  leading  them  to  attempt  im- 
pxwements,  than  as  instructions  wholly  to  be  observed. 

The  writer  is  confident  that  some  compound  or  ingre- 
dient may  yet  be  discovered  which,  when  mixed  with  the 
colors,  will  give  a more  delicate,  pleasing,  and  natural 
appearance  to  the  picture  than  is  derived  from  the  pre- 
sent mode  of  laying  them  on,  which  in  his  estimation  is 
more  like  plastering  than  coloring. 

In  Coloring  Daguerreotypes,  the  principal  shades 
of  the  head  are  to  be  made  with  bistre,  mixed  with 
burnt  sienna,  touching  some  places  with  a mixture  of 
carmine  and  indigo.  The  flesh  tints  are  produced  by  the 
use  of  light  red,  deepened  towards  the  shaded  parts  with 
yellow  ochre,  blue  and  carmine  mixed  with  indigo,  while 
the  warmer,  or  more  highly  colored  parts  have  a slight 
excess  of  carmine  or  lake.  Color  the  shades  about  the 
mouth  and  neck  with  yellow  ochre,  blue,  and  a very 
little  carmine,  heightening  the  color  of  the  lips  with  car- 
mine and  light  red,  letting  the  light  red  predominate  on 
the  upper,  and  the  carmine  on  the  lower  lip  ; the  shades 
in  the  corner  of  the  mouth  being  touched  slightly  with 
burnt  sienna,  mixed  with  carmine. 

In  coloring  the  eyes,  the  artist  will  of  course  be  guided 
by  nature,  observing  a very  delicate  touch  in  laying  on 
the  colors,  so  as  to  preserve  as  much  transparency  as 
possible.  A slight  touch  of  blue — ultramarine  would  be 
best  if  it  would  adhere  to  the  Daguerreotype  plate— -in 
the  whites  of  the  eye  near  the  iris,  will  produce  a good 
effect. 

In  coloring  the  heads  of  men  it  will  be  necessary  to 
use  the  darker  tints  with  more  freedom,  according  to  the 
complexion  of  the  sitter.  For  women,  the  warmer  tints 
should  predominate,  and  in  order  to  give  that  transpa- 


138 


ON  COLORING  DAGUERREOTYPES. 


rency  so  universal  with  the  softer  sex — and  which  gives 
so  much  loveliness  and  beauty  to  the  face — a little  white 
may  be  judiciously  intermingled  with  the  red  tints  about 
the  lighter  portions  of  the  face. 

In  taking  a picture  of  a lady  with  light  or  auburn  hair, 
by  the  Daguerrean  process,  much  of  the  beauty  of  the 
face  is  destroyed,  on  account  of  the  imperfect  manner  in 
which  light  conveys  the  image  of  light  objects  to  the 
spectrum  of  the  camera.  This  may  be  obviated  in  some 
measure  by  proper  coloring.  To  do  this,  touch  the 
shaded  parts  with  burnt  sienna  and  bistre,  filling  up  the 
lighter  portions  with  yellow  ochre,  delicate  touches  of 
burnt  sienna,  and  in  those  parts  which  naturally  have  a 
bluish  tint,  add  very  delicate  touches  of  purple — so  de- 
licate in  fact  as  hardly  to  be  perceived.  The  roots  of  the 
hair  at  the  forehead  should  also  be  touched  with  blue, 
and  the  eyebrows  near  the  temples  made  of  a pinkish 
tint. 

The  chin  of  a woman  is  nearly  of  the  same  color  as 
the  cheeks  in  the  most  glowing  parts.  In  men  it  is 
stronger,  and  of  a bluish  tint,  in  order  to  produce  the 
effect  given  by  the  beard. 

In  portraits  of  women— the  middle  tints  on  the  side  of 
the  light,  which  are  perceived  on  the  bosom  and  arms, 
are  made  of  a slight  mixture  of  ochre,  blue  and  lake,  (or 
carmine),  to  which  add,  on  the  shaded  sides,  ochre,  bis- 
tre and  purple,  the  latter  in  the  darker  parts.  The  tints 
of  the  hands  should  be  the  same  as  the  other  parts  of  the 
flesh,  the  ends  of  the  fingers  being  a little  pinkish  and 
the  nails  of  a violet  hue.  If  any  portion  of  the  fleshy 
parts  is  shaded  by  portions  of  the  dress,  or  by  the  posi- 
tion of  the  hand,  this  shade  should  be  colored  with  um- 
ber mixed  with  purple. 


ON  COLORING  DAGUERREOTYPES. 


139  , 


To  Color  the  Drapery. — Violet  Velvet — Use  pur- 
ple made  of  Prussian  blue  and  carmine,  touching  up  the 
shaded  parts  with  indigo  blue. 

Green  Velvet — Mix  Prussian  blue  and  red-orpiment, 
shade  with  purple,  and  touch  up  the  lights  with  a little 
white. 

Red  Velvet — Mix  a very  little  brown  with  carmine, 
shading  with  purple,  marking  the  lights  in  the  strongest 
parts  with  pure  carmine,  and  touch  the  most  brilliant 
slightly  with  white. 

White  Feathers — Maybe  improved  by  delicately  touch- 
ing the  shaded  parts  with  a little  blue  mixed  with  white. 
White  muslin,  linen,  lace,  satin,  silk,  etc.,  may  also  be 
colored  in  the  same  way,  being  careful  not  to  lay  the  co- 
lor on  too  heavily. 

Furs — Red  Furs  may  be  imitated  by  using  light  red 
and  a little  masticot,  shaded  with  umber.  Gray  Furs — - 
black  and  white  mixed  and  shaded  with  bistre.  Sable — 
white  shaded  lightly  with  yellow  ochre. 

These  few  directions  are  quite  sufficient  for  the  art,  and 
it  is  quite  unnecessary  for  me  to  pursue  the  subject  fur- 
ther. I would,  however,  remark  that  the  Daguerreo- 
typists  would  find  it  greatly  to  their  advantage  to  visit  the 
studies  of  our  best  artists,  our  public  galleries  of  paint- 
ings, and  statuary,  and  wherever  else  they  can  obtain  a 
sight  of  fine  paintings,  and  study  the  various  styles  of 
coloring,  atitudes,  folds  of  drapery  and  other  points  of 
the  art.  In  coloring  Daguerreotypes,  artists  will  find  the 
magnifying  glass  of  much  advantage  in  detecting  any  im- 
perfections in  the  plate  or  in  the  image,  which  may  be 
remedied  by  the  brush.  In  selecting  brushes  choose  those 
most  susceptible  of  a fine  point,  which  maybe  ascertained 
by  wetting  them  between  the  lips,  or  in  a glass  of  water. 


CHAP.  XIII. 


THE  PHOTOGRAPHOMETER. 

The  last  number  (for  March,  1849)  of  the  “ London 
Art-Journal,  gives  the  following  description  of  a recent 
improvement  in  Photographic  Manipulation,  and  as  lam 
desirous  of  furnishing  everything  new  in  the  art,  I stop 
the  press  to  add  it,  entire,  to  my  work. 

“ Since  the  photographic  power  of  the  solar  rays  bears 
no  direct  relation  to  their  luminous  influence,  it  becomes 
a question  of  considerable  importance  to  those  who  prac- 
tice the  beautiful  art  of  photography,  to  have  the  means 
of  readily  measuring  the  ever  changing  activity  of  this 
force.  Several  plans  more  or  less  successful,  have 
been  devised  by  Sir  John  Herschel,  Messrs.  Jordan, 
Shaw  and  *Hunt.  The  instrument,  however,  which  is 
now  brought  forward  by  Mr.  Claudet,  who  is  well 
known  as  one  of  our  most  successful  Daguerreotypists, 
appears  admirably  suited  to  all  those  purposes  which  the 
practical  man  requires.  The  great  difficulty  which  con- 
tinually annoys  the  photographic  amateur  and  artist,  is 
the  determination  of  the  sensibility  of  each  tablet  em- 
ployed, relatively  to  the  amount  of  radiation,  luminous 
and  chemical,  with  which  he  is  working.  With  the 
photographometer  of  Mr.  Claudet  this  is  easily  ascer- 


142 


THE  PHOTOGRAPHOMETER. 


tained.  The  following  woodcuts  and  concise  description 
will  sufficiently  indicate  this  useful  and  simple  apparatus. 

Fig.  29 


u For  an  instru- 
ment of  this  kind  it 
is  important  in  the 
first  place  to  have  a 
motion  always  uni- 
form, without  com- 
plicated or  expen- 
sive mechanism.— 
This  is  obtained  by 
means  founded  upon 
the  principle  of  the 
fall  of  bodies  sliding 
down  an  inclined 
plane.  The  sensi- 
tive surface  is  ex- 


posed to  the  light  by  the  rapid  and  uniform  passage  of  a 
metal  plate,  a,  b,  (Fig.  30,)  having  openings  of  different 
length,  which  follow  a geometric  progression.  It  is  evi- 
dent that  the  exposure  to  light  will  be  the  same  for  each 
experiment,  because  the  plate  furnished  with  the  propor- 
tional openings  falls  always  with  the  same  rapidity,  the 
height  of  the  fall  being  constant,  and  the  ai?gle  of  the 
inclined  plane  the  same.  Each  opening  of  this  moveable 
plate  allows  the  light  to  pass  during  the  same  space  of 
time,  and  the  effect  upon  the  sensitive  surface  indicates 
exactly  the  intensity  of  the  chemical  rays.  The  rapidity 
of  the  fall  may  be  augmented  or  diminished  by  altering 
the  inclination  of  the  plane  by  means  of  a graduated  arc, 
c,  d,  (Fig.  29,)  furnished  with  a screw,  e,  by  which  it 
may  be  fixed  at  any  angle.  The  same  result  may  be  ob- 
tained by  modifying  the  height  of  the  fall  or  the  weight 


THE  PHQTOGRAPHOMETER 


143 


of  the  moveable  plate.  The  photogenic  surface,  whether 


Fig.  30. 


it  be  the  Da- 
guerreoty  pe 
plate,  the  Tal- 
botype  paper, 
or  any  other 
preparati  on 
sensitive  to 
light, is  placed 
near  the  bot- 
tom of  the  in- 
clined plane, 
f.  It  is  co- 
vered by  a 
thin  plate  of 
metal,  pierced 
with  circular 
holes,  which 
correspond  to 
the  openings 
of  the  move- 
able  plate  at 
the  moment  of 
the  passag^of 
the  latter,  du- 
ring which  the 
sensitive  sur- 
face receives 


the  light  wherever  the  circular  holes  leave  it  exposed. 

“ The  part  of  the  apparatus  which  contains  the  sensi- 
tive surface  is  an  independent  frame,  and  it  slides  from 
a dark  box  into  an  opening  on  the  side  of  the  inclined 
plane 


144 


THE  PHOTOGRAPHOMETER. 


u A covering  of  black  cloth  impermeable  to  lightis, 
attached  to  the  sides  of  the  moveable  plate,  enveloping 
the  whole  inclined  plane,  rolling  freely  over  two  rollers, 
r,  r,  placed  the  one  at  the  upper  and  the  other  at  the 
lower  part  of  the  inclined  plane.  This  cloth  prevents 
the  light  striking  the  sensitive  surface  before  and  after 
the  passage  of  the  moveable  plate. 

u It  will  be  seen  that  this  apparatus  enables  the  expe- 
rimentalist to  ascertain  with  great  precision  the  exact 
length  of  time  which  is  required  to  produce  a given 
amount  of  actinic  change  upon  any  sensitive  photographic 
surface,  whether  on  metal  or  papei.  Although  at  pre- 
sent some  calculation  is  necessary  to  determine  the  differ- 
ence between  the  time  which  is  necessary  for  exposure  in 
direct  radiation,  and  to  the  action  of  the  secondary  ra- 
diations of  the  camera  obscura ; this  is,  however,  a very 
simple  matter,  and  it  appears  to  us  exceedingly  easy  to 
adapt  an  instrument  of  this  description  to  the  camera  it- 
self. 

66  By  this  instrument  Mr.  Claudet  has  already  deter- 
mined many  very  important  points.  Among  others,  he 
has  proved  that  on  the  most  sensitive  Daguerreotype 
plate  an  exposure  of  .0001  part  of  a second  Jis  sufficient 
to  produce  a decided  effect. 

“ Regarding  photography  as  an  auxiliary  aid  to  the 
artist  of  no  mean  value,  we  are  pleased  to  record  a des- 
cription of  an  instrument  which,  without  being  compli- 
cated, promises  to  be  exceedingly  useful.  In  this  opi- 
nion we  are  not  singular;  at  a recent  meeting  of  the 
Photographic  Club,  to  which  this  instrument  was  ex- 
hibited, it  was  with  much  real  satisfaction  that  we 
learned  that  several  of  our  most  eminent  artists  were  now 
eager  and  most  successful  students  in  Photography.  The 


THE  PHOTOGRAPHOMETER. 


145 


beautiful  productions  of  the  more  prominent  members  of 
this  club  excited  the  admiration  of  all,  particularly  the 
copies  of  architectural  beauties,  and  small  bits  of  land- 
scape, by  Messrs.  Cundell  and  Owen.  We  think  that 
now  the  artist  sees  the  advantage  he  may  derive  from  the 
aid  of  science,  that  both  will  gain  by  the  union.” 

I hope  the  above  description  will  induce  our  townsman, 
Mr.  Roach,  to  successfully  produce  an  instrument  that 
will  meet  the  wants  of  our  artists  in  that  part  of  the  Da- 
guerrean  process  referred  to. 

davie’s  improved  buffing  lathe. 

This  is  a recent  and  decided  improvement  for  polishing 
plates,  accurately  figured  at  31. 

There  is  no  part  of  the 
Daguerreotype  process 
requiring  more  thorough 
manipulation  than  that 
of  cleaning  and  polish- 
ing the  plate,  and  none 
wherein  the  operator  has 
met  with  less  satisfac- 
tion. The  hand  buff, 
though  good,  does  not 
give  that  finely  finished 
surface  so  desirable  in  a 
good  picture ; and  the 
lathes  commonly  used, 
are  apt,  in  some  instan- 
ces, to  go  to  the  other 
extreme,  and  wear  the 
plate  bare  of  silver.  Of  the  many  efforts  made  to  im- 
prove the  b\iffing-wheel,  none  have  come  so  near  perfec- 
tion as  the  above  alluded  to. 


Fig.  31. 


146  davie’s  improved  buffing  lathe. 

It  occupies  but  little  space,  and  requires  slight  exer- 
tion. The  buffer  is  a cone  of  cast  iron,  twenty-three 
inches  in  diameter,  neatly  covered  with  wood,  and  form- 
ing a free  surface  six  and  a half  inches  wide.  This  cone 
runs  in  a well  adapted  case,  which  stands  firmly  on  four 
handsomely  turned  legs,  attached  to  the  box  by  screws. 
The  cone  is  turned  by  a treadle  with  the  left  foot.  Con- 
nected with  the  machine,  are  four  holders  for  the  different 
sizes  of  plates.  It  is  certainly  a very  neat  affair,  and  will 
undoubtedly  do  its  work  quicker  and  better  than  any- 
thing of  the  kind  now  in  use. 


CHAP.  XIV. 


RECIPES. 

Since  the  publication  of  the  first  edition  of  the  Art  of 
Photography,  so  many  inquiries  have  been  made  for  the 
recipes  used  in  the  art,  I have  deemed  it  advisable  to 
append  everything  of  the  kind  to  the  present  issue,  that 
can  possibly  be  of  any  benefit  to  the  operator.  I would, 
however,  express  the  opinion,  that  in  most  instances  it 
would  be  preferable  to  purchase  the  compounds  of  good 
chemists,  or  the  dealers  in  Daguerreotype  stock,  than  to 
trust  to  your  own  compounding.  However,  those  who 
wish  to  make  experiments,  or  search  into  effects  and 
causes,  will  herein  find  ample  scope  for  their  ambition. 

BROMINE. 

Bromine  is  prepared  by  passing  a current  of  chlorine 
through  the  unchrystalizable  residuum  of  sea-water,  called 
bittern , which  then  assumes  an  orange  tint,  in  conse- 
quence of  bromine  being  set  free  from  its  combinations  ; 
sulphuric  ether  is  then  agitated  with  it,  and  the  mixture 
is  allowed  to  stand  until  the  ethereal  portion  holding  the 
bromine  in  solution  floats  upon  the  surface.  This  is  then 
carefully  decantered,  and  agitated  with  a solution  of  po- 
tassium, by  which  means  bromide  of  potassium  and  bro- 
mate  of  potash  are  formed.  The  whole  is  next  evaporated 
to  dryness,  and  submitted  to  a dull  heat ; the  residuum  is 


148 


RECIPES. 


then  powdered,  mixed  with  pure  peroxide  of  manganese, 
and  placed  in  a retort ; sulphuric  acid , diluted  with  half 
its  weight  of  water,  is  now  poured  in.  Red  vapors  imme- 
diately arise,  are  condensed  into  drops  of  bromine,  and 
are  collected  by  plunging  the  neck  of  the  retort  to  the 
bottom  of  a small  receiver  containing  cold  water.  The 
bromine  forms  a stratum  beneath  the  water,  and  may  be 
collected  and  purified  by  distillation  from  dry  chloride  of 
calcium. 

Bromide  of  Iodine. — See  page  67. 

Bromide  of  Lime. — See  page  68. 

Another  method  of  preparing  this  favorite,  and  undoubt- 
edly one  of  the  very  best  accelerators  used  in  the  art,  is, 
after  observing  the  directions  on  page  68,  to  drop  Hydro- 
fluoric acid  into  the  mixture  until  it  becomes  a light 
orange,  approaching  red  ochre  color.  A small  piece  of 
alum,  finely  powdered,  and  well  shaken  in,  will  benefit  it 
materially. 

Bromine,  Chloride  of. — Transmit  a current  of  dry 
chlorine  through  hromi , and  condense  the  disengaged 
vapors  in  a receiver  surrounded  with  ice.  A volatile  red- 
dish fluid  is  produced,  which  may  be  diluted  with  water 
in  the  proportions  given  on  page  68,  and  it  is  ready  for 
the  coating-box. 

chlorine. 

To  obtain  this,  mix  together  in  a glass  flask  or  retort, 
strong  muriatic  acid,  with  half  its  weight  of  finely  pow- 
dered peroxide  of  manganese.  The  tube  of  the  flask  must 
be  inserted  into  a clean  dry  glass  bottle,  reaching  nearly 
to  its  bottom.  Chlorine  gas  is  immediately  evolved,  and 
being  heavier  than  the  air,  will  displace  the  latter  without 
mixing  with  it.  When  the  bottle  is  full,  which  may  be 


RECIPES. 


149 


known  by  the  gas  overflowing  the  mouth,  the  tube  should 
be  removed  into  another  bottle,  and  the  full  one  securely 
closed  with  a ground  stopper,  previously  greased.  Con- 
tinue thus  to  fill  your  bottles  until  you  have  the  desired 
quantity.  Several  other  methods  are  used  for  procuring 
this  gas,  but  the  above  is  simple  and  sufficient. 

Liquid  Chlorine  may  be  made  by  mixing  87  parts  of 
sulphuric  acid  with  124  parts  of  water,  and  pouring  it 
upon  100  parts  of  dry  muriate  of  soda  and  30  parts  of 
oxide  of  manganese,  previously  mixed  together  and  placed 
in  a retort.  Conduct  the  gas  evolved  into  200  parts  dis- 
tilled water. 

CHLORIDE  OF  GOLD. 

This  is  a very  simple  compound,  and  may  be  made  as 
follows  : 

Take  three  parts  nitro-muriatic  acid,  put  it  into  a cup, 
and  drop  into  it  a piece  of  pure  gold  one-third  its  weight, 
and  let  it  evaporate  until  chlorine  vapor  begins  to  be  dis- 
engaged ; then  set  it  aside  to  chrystalize.  Care  should 
be  taken  to  place  the  cup  in  a draught  of  air,  that  you 
may  not  be  troubled  by  the  fumes  arising  from  it.  A 
gentle  heat  may  be  applied  to  the  bottom  of  the  cup  by 
means  of  your  spirit-lamp,  taking  care  not  to  get  it  too 
hot ; or,  the  cup  may  be  put  into  a saucepan  of  boiling 
water,  sufficiently  small  to  permit  the  cup  to  rest  on  its 
rim,  with  about  three-fourths  the  body  of  the  latter  im- 
mersed. 

The  crystals  of  chloride  of  gold  made  in  this  way,  are 
of  an  orange-red  color,  and  may  be  dissolved  in  water 
fifteen  grains  to  a pint.  To  this,  add  forty-five  grains 
hyposulphite  of  soda,  and  when  thoroughly  combined, 
filter  the  mixture  through  bibulous  paper  till  it  becomes 


150 


RECIPES. 


colorless.  Gild  the  picture  over  the  spirit-lamp  until  the 
bubbles  are  well  defined  over  the  plate. 

Thompson’s  chloride  of  gold. 

Take  one  dollar’s  worth  virgin  gold,  put  it  in  a porcelain 
cup,  and  pour  on  about  an  ounce  of  nitro-muriatic  acid. 
Place  a feeble  alcoholic  flame  under  it,  just  enough  to  make 
it  simmer — stir  it  occasionally  with  a glass  rod ; when 
the  gold  is  all  dissolved,  add  about  one  hundred  grains 
common  salt ; if  there  is  not  sufficient  acid  to  saturate 
the  salt,  add  more,  stirring  it  with  your  glass  rod  until  it 
is  perfectly  dry.  It  is  then  ready  to  bottle.  To  fifty 
grains  of  hyposulphite  of  soda  dissolved  in  a pint  of  water, 
put  eighteen  grains  of  chloride  of  gold.  Filter  as  usual. 

HYPOSULPHITE  OF  GOLD. 

Take  85  parts  terchloride  of  gold  and  16  parts  sodium  ; 
dissolve  them  in  a little  distilled  water,  and  evaporate 
over  a gentle  heat  until  a pellicle  forms  ; then  put  it  aside 
to  chrystalize. 

ANOTHER. 

Dissolve  a given  quantity  of  chloride  in  an  excess  of 
distilled  water,  and  add  four  times  its  weight  of  hyposul- 
phite of  soda  previously  dissolved  in  distilled  water  to 
excess.  Into  this,  drop  the  gold  . solution,  shaking  it  up 
well  at  intervals.  After  letting  it  stand  in  the  dark  until 
it  is  bleached,  filter  and  evaporate  to  dryness.  To  this 
residuum  add  200  times  its  weight  of  distilled  water,  and 
three  grains  burnt  alum;  agitate  and  evaporate  to  dry- 
ness as  before.  Twenty-five  grains  of  this  salt  will  make 
a quart  of  strong  solution,  which  should  be  filtered  till  it 
becomes  colorless.  Use  as  directed  on  page  74. 


RECIPES. 


151 


IODINE. 

This  chemical  element  is  found  in  animal,  vegetable 
and  mineral  substances,  but  exists  in  the  greatest  abund- 
ance in  the  vegetable.  It  is  prepared  by  extracting  all  the 
soluble  part  of  kelp  by  water,  and  crystalizing  the  soda 
by  evaporation  ; to  the  mother-lye  add  oil  of  vitriol  in  ex- 
cess— say,  one  ounce  of  vitriol  to  eight  of  lye — and  boil 
the  liquid ; then  strain  it  and  mix  the  filtered  liquor  with 
as  much  manganese  as  there  was  oil  of  vitriol  used ; on 
applying  heat,  the  iodine  sublimes  in  the  form  of  grayish 
black  scales,  with  a metallic  lustre. 

The  boiling  is  conducted  in  a leaden  vessel ; and  a 
cylindrical  leaden  still,  with  a very  short  head , and  con- 
nected with  two  or  three  globular  glass  receivers,  is  used 
for  the  subliming  apparatus.  Care  must  be  taken  to 
watch  the  process,  and  prevent  the  neck  of  the  still  be- 
coming choked  with  condensed  iodine. 

CHLORIDE  OF  IODINE. 

When  dry  chlorine  is  passed  over  dry  iodine,  at  com- 
mon temperature,  heat  is  evolved,  and  a solid  chloride 
results.  It  is  orange  yellow  when  the  iodine  is  fully  satu- 
rated, and  reddish  orange  when  the  iodine  is  in  excess. — 
The  process  is  effected  by  placing  the  iodine  in  a flask, 
and  attached  to  a retort  containing  chlorine. 

Thompson’s  accelerator. 

This  is  one  of  the  best  sensitives  we  know  of,  and  Mr. 
Thompson  will  accept  our  thanks  for  contributing  it  to 
our  work. 

Make  a strong  solution  of  lime  in  one  quart  of  water — 
add  to  it  half  an  ounce  of  chloride  of  iodine,  and  then 


152 


RECIPES. 


drop  in  sufficient  bromine  to  take  up  the  chloride  of 
iodine ; the  best  way  is  to  first  put  in  the  one-eighth  of 
an  ounce  of  bromine,  and  add  a few  drops  daily  until  the 
chloride  of  iodine  is  taken  up — care  being  taken  not  to 
get  too  much — then  put  in  sixty  grains  nitrate  of  silver, 
shake  it  well,  and  add  thirty  drops  nitro-muriatic  acid. 
Put  in  the  box  about  a tablespoonful  of  pulverized  alum, 
and  add  one  part  quick  with  six  of  water.  Coat  over  dry 
iodine  to  a light  lemon  color,  then  over  the  quick  to  a 
deep  orange,  and  back  over  the  iodine  one  quarter  the 
time  required  by  the  quick. 

Thompson’s  dry  quick. 

Take  a lump  of  lime  and  soak  it  in  alcohol  about  two 
hours,  then  expose  it  to  the  air  until  it  is  as  fine  as  flour. 
To  one  pint  of  lime  add  half  ounce  bromine  and  three 
tablespoonsful  pulverized  alum.  Put  one-third  of  this 
into  a half-plate  box,  and  as  it  becomes  weak,  add  more, 
and  so  on  until  you  have  the  whole  pint.  After  this,  a 
few  drops  of  bromine  occasionally  will  make  it  last  six 
months. 

HYPOSULPHITE  OF  SODA. 

This  may  be  made  by  boiling  a diluted  solution  of 
caustic  soda  with  sulphur  until  saturated ; then  pass  sul- 
phurous acid  gas  into  the  solution  until  it  is  strongly  im- 
pregnated. Filter  a small  portion  of  the  mixture,  and  if 
it  have  a pale  yellow  color,  you  may  filter  the  whole,  and 
evaporate  it  by  boiling  to  syrupy  consistence.  If  there 
remains  any  sulphuret  of  soda,  mix  the  syrup  with  half 
its  weight  of  alcohol,  shake  it  well,  and  then  set  it  aside 
to  crystalize. 


RECIPES. 


153 


NITRATE  OF  SILVER. 

Digest  pure  metallic  silver  in  one  and  a half  times  its 
weight  of  nitric  acid  diluted  with  water,  and  evaporate 
the  solution  to  dryness.  Nitrate  of  silver  is  soluble  in  its 
own  weight  of  cold  water,  and  half  its  weight  of  hot,  and 
also  in  four  times  its  weight  of  alcohol. 

OXIDE  OF  SILVER. 

This  oxide  may  be  obtained  by  adding  to  a solution  of 
the  nitrate  of  silver  pure  barytic  water,  or  lime  water ; it 
may  be  obtained,  also,  from  its  solution  in  nitric  acid,  by 
the  addition  of  the  pure  alkalies. 

CHLORIDE  OF  SILVER. 

To  one  part  oxide  silver  solution  add  one  part  hydro- 
chloric acid.  Evaporate  to  dryness.  It  is  insoluble  in 
water,  but  may  be  dissolved  in  ammonia  and  hyposulphu- 
rous  acid. 

IODIDE  OF  SILVER. 

This  compound  is  formed  by  adding  a solution  of  the 
hydriodate  of  potash  to  a solution  of  nitrate  of  silver,  in 
about  equal  proportions. 

BROMIC  ACID. 

Formed  by  passing  five  equivalents  of  oxygen  into  one 
of  bromine.  From  bromate  of  baryta,  by  means  of  sul- 
phuric acid,  free  bromic  acid  may  be  obtained. 

GALLIC  ACID. 

This  acid  is  obtained  from  gall  nuts,  and  consists  of 
four  parts  carbon,  three  parts  oxygen,  and  three  parts  hy- 
drogen. It  crystalizes  in  white  plates,  is  soluble  in 


154 


RECIPES. 


three  parts  boiling,  or  twenty  parts  cold  water ; it  is  very 
soluble  in  alcohol,  and  sublimes  by  heat. 

CHLORIDE  OF  POTASSIUM. 

Is  made  by  exposing  to  the  action  of  heat  the  chlorate 
of  potassa.  The  oxygen  of  the  acid  and  the  alkali  is 
driven  off,  leaving  a compound  of  chlorine  and  potassium 
in  the  vessel.  It  is  also  procured  by  putting  potassium 
into  dry  chlorine  gas.  It  consists  of  36  parts  of  chlorine 
to  40  of  potassium. 

CYANIDE  POTASSIUM. 

Is  formed  by  heating  to  redness  the  peroxide  of  manga- 
nese, and  the  fero-cyanuret  of  potassium  in  an  iron  bottle. 
Soluble  in  water. 

BROMIDE  OF  POTASSIUM. 

Put  one  part  bromine,  and  one  part  potassium  in  a glass 
bottle,  and  heating  them  till  they  combine.  Soluble  in 
water  and  alcohol,  and  crystalizes  from  this  solution  into 
anhydrous  cubic  crystals. 

IODIDE  OF  POTASSIUM. 

Is  made  in  the  same  way  as  the  bromide  of  potassium — 
iodine  being  substituted  for  bromine.  Soluble  in  water 
and  alcohol,  and  yields  colorless  cubic  crystals. 

CHLORATE  OF  POTASSA. 

Pass  a current  of  chlorine  gas  through  a solution  of 
potassa  until  the  alkali  is  neutralized ; boil  the  solution 
a few  minutes,  and  then  evaporate  it  until  a pellicle  forms 
upon  its  surface.  On  cooling,  the  chlorate  crystalizes, 
and  leaves  the  muriate  of  potassa  in  solution.  Re-dissolve 
these  crystals  in  distilled  water,  and  again  evaporate  to 


RECIPES. 


155 


dryness,  and  you  obtain  pure  chlorate  of  potassa  in  scales 
of  a pearly  lustre. 

MERCURY. 

Mercury  exists  native,  but  may  be  obtained  by  mixing 
iron  filings,  or  lime,  and  native  cinnabar,  and  exposing 
the  mixture  to  heat  in  an  earthen  or  iron  retort ; the 
sulphur  of  the  cinnabar  combines  with  the  iron  or  lime, 
and  the  mercury  is  distilled  over,  and  must  be  collected 
under  water,  the  neck  of  the  retort  being  immersed  in  that 
fluid.  Crude  mercury,  (such  as  is  sold  by  druggists,) 
may  be  distilled  in  the  same  way,  and  obtained  perfectly 
pure. 

Pure  mercury  does  not  tarnish  when  exposed  to  the  air, 
nor  does  any  film  collect  on  the  surface  when  shaken  in  a 
bottle. 

HYDROFLUORIC  A-CID. 

This  acid  is  prepared  by  mixing  one  part  fluor-spar 
with  two  parts  sulphuric  acid,  in  a leaden  retort,  exposed 
over  a charcoal  fire.  A powerful  corrosive  and  poison- 
ous acid  is  distilled  over,  which  must  be  collected  in 
leaden  bottles  surrounded  with  ice.  Glass  must  not  be 
employed,  as  the  acid  destroys  it — lead  only  must  be 
used. 

CHLORIDE  OF  CALCIUM. 

Is  formed  by  heating  lime  strongly  in  chlorine  gas,  m 
proportion  as  36  to  20.  It  may  also  be  prepared  by  heat- 
ing  dry  muriate  of  lime  to  ignition.  It  is  very  deliques- 
cent, and  dissolves  in  a fourth  part  its  weight  of  water, 
and  is  soluble  in  alcohol. 


156 


RECIPES. 


BUFF-POWDER. 

Take  two  parts  rouge,  one  part  calcined  ivory,  two 
parts  plumbago,  one  part  oxide  tin,  mix  well  together,  and 
you  have  an  excellent  finishing  polish.  If  you  wish  to 
save  the  trouble  of  compounding  it,  buy  it  of  the  dealers. 

PHOTOGINE. 

This  is  a very  fine  article  for  cleaning  the  plate  previ- 
ous to  buffing ; those  who  use  it  pronounce  it  superior  to 
the  finest  rottenstone.  It  is  used  with  alcohol,  precisely 
in  the  same  manner  as  the  latter. 

FOSSIL  POWDER. 

This  is  a good  article  for  drying  off  the  plate  after  using 
the  rottenstone  or  photogenie,  and  previous  to  buffing. — 
To  use  it,  dust  a little  over  the  plate,  and  wipe  it  off  with 
a large  camel’s  hair  brush.  It  removes  every  particle  of 
moisture. 

TO  MAKE  PASTE  FOR  SEALING  PAPER. 

Take  six  parts  of  the  best  glue ; boil  and  strain  it  very 
clear  ; add  three  parts  isinglass,  also  boiled  and  strained  ; 
put  them  in  a double  glue  pot,  with  a quarter  of  a pound 
fine  brown  sugar,  and  boil  it  very  thick;  pour  it  into 
moulds,  and  when  cold,  cut  it  into  cakes  of  convenient 
size,  and  dry  them.  When  desired  for  sealing  paper,  dis- 
solve one  of  the  cakes  in  warm  water,  and  spread  it  on 
stout  tissue,  or  other  very  thin  paper. 

SEALING-WAX. 

Take  two  parts  well  powdered  gum-shellac,  and  one 
part  resin,  of  the  whitest  kind,  and  melt  them  together 


RECIPES, 


157 


over  a slow  fire,  adding  one  part  vermilion,  ivory  black, 
verdigris,  verditer,  masticot,  or  any  other  color  you  may 
desire.  Beeswax  is  a good  substitute  for  shellac,  if  the 
latter  is  not  to  be  had.  Work  it  into  sticks  while  cooling, 
if  desirable. 

TO  DISINFECT  A ROOM  OF  BROMINE  VAPOR. 

Sprinkle  ammonia  about  the  room,  or  burn  ground 
coffee  on  hot  coals. 

TO  PURIFY  WATER. 

Put  a piece  of  alum,  about  the  size  of  a hickory  nut, 
into  a pail  of  water;  let  it  stand  for  half  an  hour,  and 
then  decant  it  carefully  into  another  vessel.  To  neutral- 
ize any  carbonates  that  may  be  held  in  solution,  add  four 
or  five  drops  of  nitric  acid  for  every  quart  of  water. 

As  pure  or  soft  water  is  absolutely  necessary  to  Daguer- 
reotypists,  a simple  process  for  ascertaining  whether  it  is 
so  or  not  will  be  useful.  To  do  so,  take  a glass-full,  and 
add  a few  drops  solution  of  soap  in  alcohol ; if  the  water  be 
pure,  it  will  continue  limpid — if  impure,  white  flakes  will 
be  formed  on  the  surface. 

TO  TAKE  DAGUERREOTYPES  ON  IVORY. 

Immerse  ivory  in  a weak  solution  of  nitrate  of  silver, 
and  let  it  remain  until  the  solution  has  given  it  a deep 
yellofr  color  ; then  put  it  into  a glass  of  clean  water,  and 
expose  it  in  the  rays  of  the  sun  until  it  becomes  black ; 
polish  it,  and  a brilliant  silver  surface  is  the  result.  Coat 
it  in  the  usual  manner,  submit  it  to  the  light  in  the 
camera,  and  finish  and  gild  as  you  would  the  ordinary 
plate. 


CHAP.  XV. 


RESEARCHES  ON  THE  THEORY  OP  THE  PRINCIPAL  PHE 
NOMENA  OF  PHOTOGRAPHY  IN  THE  DAGUERREOTYPE 
PROCESS. 

BY  A.  CLAUDET.* 

The  principal  pnenomena  in  the  Daguerreotype  process 
which  have  not  yet  been  satisfactorily  explained,  are  those 
referring  to  the  following  points  : 

1st.  What  is  the  action  of  light  on  the  sensitive  coat- 
ing? 

2d.  How  does  the  mercurial  vapor  produce  the  Da- 
guerreotype  image  ? 

3d.  Which  are  the  particular  rays  of  light  that  impart 
to  the  chemical  surface  the  affinity  for  mercury  ? 

4th.  What  is  the  cause  of  the  difference  in  achromatic 

# M.  Claudet  is  not  only  one  of  the  most  theoretical  but  practical 
Daguerreotypists  of  Europe,  and  no  man  in  the  Old  World  deserves 
more  credit  for  his  persevering  energy  in  experimenting  and  improv- 
ing his  art.  He  does  not  confine  himself  to  the  mere  role  of  making 
money ; his  whole  soul  seems  wrapped  up  in  the  study  of  his  art,  and 
instead  of»  making  it  a mechanical  business,  he  raises  it  to  its  proper 
sphere  among  the  arts  and  sciences.  I wish  I could  point  to  more 
than  one  artist  in  this  country  to  emulate  him.  Our  operatives  should 
not  be  content  with  the  superiority  of  their  pictures  over  those  of 
Europeans,  but  they  should  know  the  cause,  and  knowing  should  be 
able  to  explain  it.  They  should  study  their  art,  and  the  sciences  con- 
nected with  it,  much  more  than  at  present.  Nous  verrons. 

8 


160 


RESEARCHES  IN  PHOTOGRAPHY. 


lenses,  between  the  visual  and  photogenic  foci  ] Why  do 
they  constantly  vary  ? 

5th.  What  are  the  means  of  measuring  the  photogenic 
rays,  and  of  finding  the  focus  at  which  they  produce  the 
image  ? 

These  are  the  various  subjects  I shall  have  to  treat  in 
the  present  paper.  At  the  last  meeting  of  the  British  As- 
sociation, which  took  place  at  Swansea,  I announced  that 
the  decomposition  of  the  chemical  surface  of  the  Da- 
guerreotype plate  by  the  action  of  certain  rays  of  light  pro- 
duced on  that  surface  a white  precipitate,  insoluble  in  the 
hyposulphite  of  soda,  which,  when  examined  by  the  mi- 
croscope, had  the  appearance  of  crystals  reflecting  light, 
and  which,  when  seen  by  the  naked  eye,  were  the  cause 
of  a positive  Daguerreotype  image.  This  fact  had  not  been 
observed  before.  The  opinion  of  Daguerre  himself,  and 
other  writers,  was,  that  the  action  of  lights  on  the 
iodide  of  silver,  had  only  the  effect  of  darkening  the  sur- 
face and  producing  a negative  image ; but  it  escaped 
them,  that  under  the  darkened  iodide  of  silver  another  ac- 
tion had  taken  place,  and  that  the  hyposulphite  of  soda 
could  disclose  a positive  image.  I have  proved  this  unex- 
pected fact  in  obtaining  by  the  action  of  light  only,  and 
without  mercury,  images  having  the  same  appearance  as 
those  developed  under  the  action  of  mercurial  vapor. 
This  direct  and  immediate  effect  of  light  is  certainly  re- 
markable; but  the  Daguerreotypist’s  process  is  not 
founded  on  that  principle  on  account  of  the  slowness  of 
its  action.  It  is  fortunate  that  long  before  light  can  pro- 
duce the  white  coating  I have  alluded  to,  it  produces  ano- 
ther effect,  which  is,  the  wonderful  property  of  attracting 
the  vapor  of  mercury.  This  vapor  is  condensed  in  white 
powder,  leaving  also,  when  examined  by  the  microscope, 


RESEARCHES  IN  PHOTOGRAPHY. 


161 


the  appearance  of  reflecting  crystals.  The  cause  of  the 
Daguerreotype  image  is  due  to  that  property,  which  was 
entirely  discovered  by  Daguerre. 

Mr.  Moser  has  given  an  ingenious  theory  of  the  ac- 
tion of  mercury.  ******* 
* * * It  is  more  probable  that  light  exercises  two 

actions  on  the  iodide  of  silver,  whether  it  is  or  is  not 
combined  with  chloride  of  bromium.  By  one  the  iodide 
is  decomposed,  and  the  silver  set  free  is  precipitated  on 
the  surface  in  a white  powder  or  small  crystals  by  the 
other,  which  begins  long  before  the  former  ; the  parts  af- 
fected by  light  have  been  endowed  with  an  affinity  for 
mercurial  vapor. 

By  means  of  my  photographometer,  (see  Chap.  XIII.) 
to  the  principles  of  which  I shall  presently  refer,  I have 
been  enabled  to  ascertain  that  the  pure  light  of  the  sun 
produces,  in  about  two  or  three  seconds,  the  decomposi- 
tion of  the  bromo-iodide  of  silver,  which  is  manifest  by 
the  white  coating ; while  the  same  intensity  of  light  de- 
termines the  affinity  for  mercurial  vapor  in  the  wonderful 
short  space  of  about  y^o  Part  a second,  so  that  the 
affinity  for  mercury  is  produced  by  an  intensity  of  light 
three  thousand  times  less  than  that  which  effected  the  de- 
composition manifested  by  the  white  coating. 

For  this  reason  it  is  difficult  to  suppose  that  the  two  ac- 
tions are  the  same.  We  must  admit  that  they  are  diffe- 
rent. Long  before  it  can  operate  on  the  decomposition 
of  the  chemical  surface,  light  imparts  to  the  sensitive 
coating  the  affinity  for  mercurial  vapor,  and  this  appears 
to  be  the  principle  of  the  formation  of  the  image  in  the 
Daguerreotype  process. 

* * * * I stated  that  the  red,  orange  and  yel- 
low rays  destroyed  the  action  of  white  light,  and  that 


162 


RESEARCHES  IN  PHOTOGRAPHY. 


the  surface  recovered  its  former  sensitiveness  after  hav- 
ing been  submitted  to  the  action  of  those  rays.  I inferred 
from  that  curious  fact,  that  light  could  not  have  decom- 
posed the  surface,  for  if  it  had  decomposed  the  compound, 
it  would  be  difficult  to  understand  how  the  red,  orange 
and  yellow  rays  could  combine  again  elements  so  volatile 
as  iodide  and  bromine,  after  they  had  been  separated  from 
the  silver. 

The  action  of  light,  which  can  be  destroyed  by  the  red, 
orange  and  yellow  rays,  does  not  determine  the  decompo- 
sition, which  would  require  an  intensity  three  thousand 
times  greater.  It  is  the  kind  of  action  produced  with  an 
intensity  three  thousand  times  less,  giving  the  affinity  for 
mercury,  which  is  completely  destroyed  by  the  red,  orange 
or  yellow  rays.  It  seems,  therefore,  that  I was  right  in 
saying  that  there  was  no  decomposition  of  the  com- 
pound during  the  short  action  which  is  sufficient  to  give 
the  affinity  for  mercury,  or  in  ascribing  the  formation  of 
the  image  only  to  that  affinity,  while  light,  or  the  chemi- 
cal rays  which  accompany  it,  communicate  to  the  surface 
the  affinity  for  mercury,  and  the  red,  orange,  or  yellow 
rays  withdraw  it.  I must  remark  here  a singular  ano- 
maly, viz.,  that  when  the  sensitive  surface  is  prepared 
only  with  iodine  without  bromine,  the  red,  orange,  or  yel- 
low rays,  instead  of  destroying  the  action  of  white  light, 
continue  the  effects  of  decomposition,  or  of  affinity  for 
mercury. 

This  phenomenon  was  announced  first  by  Mr.  Edward 
Becquerel,  and  immediately  after  M.  Gaudin  found  that 
not  only  these  rays  continue  the  action  by  which  mercury 
is  deposited,  but  that  they  develope,  without  mercury,  an 
image  having  the  same  appearance  as  that  produced  by 
mercurial  vapor.  M.  Gaudin  not  knowing  the  fact  of  the 


RESEARCHES  IN  PHOTOGRAPHY. 


163 


white  coating,  which  is  the  result  of  decomposition  by  the 
action  of  light,  could  not  explain  the  cause  of  the  image 
brought  out  under  the  influence  of  the  yellow  rays. 

I have  observed,  that  the  iodide  of  silver  without  bro- 
mine is  about  one  hundred  times  more  sensitive  than  the 
bromo-iodide  of  silver,  to  the  action  of  light,  which  pro- 
duces the  decomposition  of  the  compound  forming  the 
white  precipitate  of  silver,  while  it  is  one  hundred  times 
less  sensitive  for  the  effect  which  gives  the  affinity  for 
mercury  ; another  reason  for  supposing  that  the  two  ac- 
tions are  different.  It  may  be,  that  in  the  case  of  the 
ioide  of  silver  alone,  the  decomposition  being  more  ra- 
pid, and  the  affinity  for  mercury  slower  than  when  bro- 
mine is  added  to  the  compound,  the  red,  orange  and  yel- 
low rays  having  to  act  only  upon  a commencement  of  de- 
composition, have  the  power,  by  their  own  photogenic  in- 
fluence, to  continue  the  decomposition  when  begun.  This 
is  the  explanation  of  the  development  of  the  image  under 
red,  orange,  or  yellow  glasses,  according  to  M.  Gaudin’s 
discovery;  but  in  the  case  of  bromo-iodide,  the  red, 
orange  and  yellow  rays  have  to  exert  their  action  on  the 
affinity  for  mercury,  begun  a long  time  before  the  decom- 
position of  the  compound,  and  they  have  the  power  of  de- 
stroying that  affinity. 

Thus  it  would  appear  that  all  the  rays  of  light  have  the 
property  of  decomposing  the  iodide  of  silver  in  a longer 
or  shorter  time,  as  they  have  that  of  producing  the  affinity 
for  mercury,  or  the  bromo-iodide  of  silver,  with  this  diffe- 
rence, that  on  the  former  compound  the  separate  actions 
of  the  several  rays  continue  each  other,  and  on  the  se- 
cond compound  these  separate  actions  destroy  each  other. 
We  can  understand  that  in  the  first  case  all  the  rays  can 
operate  the  same  decomposition  ; and  that  in  the  second 


164 


RESEARCHES  IN  PHOTOGRAPHY. 


the  affinity  for  mercury,  when  given  by  one  ray,  is  de- 
stroyed by  another.  This  would  explain  the  various  phe- 
nomena of  the  formation  of  the  two  different  deposits  I 
have  described,  and  also  explain  the  anomaly  of  the  con- 
tinuation of  the  action  of  light  by  the  red,  orange  and 
yellow  rays,  according  to  M.  Ed.  Becquerel’s  discoveries 
on  the  iodide  of  silver,  and  of  the  destruction  of  that  ac- 
tion by  the  same  rays,  according  to  my  own  observation, 
on  the  bromo-iodide  of  silver. 

The  red,  orange  and  yellow  rays,  when  acting  upon  an 
unaffected  surface,  are  considerably  less  capable  than  the 
most  refrangible  rays,  of  imparting  the  affinity  for  mercu- 
rial vapor  on  both  the  iodide  and  bromo-iodide  of  silver ; 
and  they  destroy  that  affinity  when  it  has  been  produced 
on  the  bromo-iodide  by  the  photogenic  rays.  It  follows 
from  that  fact,  that  when  the  red,  orange  and  yellow  are 
more  abundant  in  the  light  than  the  other  rays,  the  photo- 
genic effect  is  retarded  in  proportion  to  the  excess  of  their 
antagonistic  rays.  This  happens  when  there  exists  in  the 
atmosphere  some  vapors  which  absorb  the  most  refrangi- 
ble rays.  In  these  circumstances  the  light  appears  rather 
yellow,  but  is  very  difficult  to  judge  by  the  eye,  from  the 
exact  color  of  the  light,  and  the  proportion  of  photogenic 
rays  existing  in  the  atmosphere  at  any  given  moment. 

The  vapors  of  the  atmosphere  which  make  the  light  ap- 
pear yellow,  act  as  any  other  medium  interrupting  the 
blue  rays  and  those  which  are  the  most  refrangible.  I 
prove  by  very  simple  experiment,  the  comparative  photo- 
genic action  of  rays  which  have  passed  through  s-uch 
media,  and  of  those  which  have  met  with  no  similar  ob- 
stacles ; and  also  that  that  media  which  intercept  the  pho- 
togenic rays,  will  allow  the  illuminating  rays  to  pass 
freely  If  I cover  an  engraving  one-half  with  light  yellow 


RESEARCHES  IN  PHOTOGRAPHY. 


165 


glass,  and  place  it  before  my  camera  obscura  to  represent 
the  whole  upon  a Daguerreotype  plate,  I find  that  during 
the  time  which  has  been  necessary  to  obtain  the  image 
of  the  half  not  covered,  not  the  slightest  effect  has  been 
produced  on  the  half  covered  with  the  yellow  glass. 
Now,  if  I cover  one-half  with  deep  blue  glass,  and  the 
other  with  the  same  light  yellow  glass,  the  engraving  will 
be  distinctly  seen  through  the  yellow  glass,  and  not  at  all 
through  the  blue.  In  representing  the  whole,  as  before, 
on  the  Daguerreotype  plate,  the  half  which  was  clearly 
seen  by  the  eye  has  produced  no  effect,  and  the  other 
which  could  not  be  seen,  is  as  fully  represented,  and  in 
nearly  as  short  ? time  as  when  no  blue  glass  had  been  in- 
terposed. ******** 
********** 


In  considering  how  difficult  it  is  to  judge  by  the  eye 
alone  of  the  photogenic  state  of  the  light,  we  can  under- 
stand how  the  photographer  is  constantly  deceived  in  the 
effect  he  tries  to  produce,  having  no  means  to  ascertain 
beforehand,  with  any  degree  of  certainty,  the  intensity  of 
the  light.  * * ' * 

The  photographometer  gives  the  means  of  comparing 
the  degree  of  sensitiveness  of  two  photogenic  surfaces 
differently  prepared  and  of  different  kinds.  This  is  done 
by  employing  two  moveable  plates  with  seven  vertical 
openings,  and  two  plates  with  seven  corresponding  holes. 
Receiving  both  the  same  light  during  the  same  time,  the 
number  of  spots  on  each  surface  will  indicate  the  compa- 
rative sensitiveness  of  the  two. 

It  is  a remarkable  fact,  that  the  photogenic  light  cannot 
be  measured  except  by  geometrical  progression  ; the  dif- 
ference of  the  effect  in  an  arithmetical  progression  being 
imperceptible.  In  comparing  the  intensity  of  any  two 


166 


RESEARCHES  IN  PHOTOGRAPHY, 


spots  following  each  other,  although  one  has  received 
double  the  light  of  the  next,  it  is  difficult  to  find  any  sen- 
sible difference  in  the  color  given  by  the  deposit  of  mer- 
cury ; it  is  for  this  reason  that  I have  adopted  the  geome- 
trical progression. 

The  photographometer  has,  therefore,  taught  me  that 
when  a Daguerreotype  picture  is  too  black,  I must  double 
the  time  of  exposure  for  the  next,  in  order  to  obtain  a 
marked  difference ; and  that  when  it  is  too  white,  or  too 
much  done,  I must,  for  the  next,  considerably  reduce  the 
time  of  exposure. 

This  enables  the  photographer  to  try  several  experi- 
ments in  order  to  improve  the  sensitiveness  of  his  prepa- 
ration, and  to  adopt  the  best.  There  cannot  be  a surer 
and  simpler  method  of  comparing  two  different  degrees  of 
sensitiveness.  By  this  means  I have  found  that  the  sen- 
sitiveness of  the  prepared  plate  increases  hy  being  kept 
sometime  before  using  it.  A plate  prepared  one  or  two 
days  beforehand,  is  twice  as  sensible  as  one  prepared  im- 
mediately. When  the  prepared  plates  are  kept  in  well- 
shut  dark  boxes,  they  may  be  prepared  several  days  ; I 
have  employed  some  three  or  four  weeks  after  they  had 
been  prepared,  and  I have  found  them  exceedingly  sensi- 
tive, and  producing  good  pictures. 

Since  the  publication  of  my  photographometer,  I have 
made  an  improvement  which  renders  it  more  complete. 
Instead  of  one  series  of  seven  round  holes,  I have  intro- 
duced four  series;  and  by  means  of  sliding  blades,  I can 
open  and  shut  at  will  any  one  of  these  four  series.  This 
enables  me  to  continue  by  repeated  falls  the  geome- 
trical progression  from  1 to  512  on  one  plate,  and  when  a 
second  plate  is  added,  from  i to  8,192;  so  that  I can 
compare  and  follow  the  different  effects  of  light  in  a con- 


RESEARCHES  IN  PHOTOGRAPHY. 


167 


siderable  range  of  intensities.  This  is  done  in  the  follow- 
ing manner  : After  giving  one  fall  with  all  the  slides  open, 
I shut  one  and  give  another  fall,  then  shut  the  second  and 
give  two  falls,  and  so  on,  always  doubling  the  number  of 
falls  for  every  new  slide  shut.  It  is  by  this  means  that  I 
have  been  able  to  discover  at  what  degree  of  intensity  of 
light  the  effect  called  solarization  is  produced.  On  a 
well-prepared  plate  of  bromo-iodide  it  does  not  begin 
under  an  intensity  of  512  times  greater  than  that  which 
determines  the  first  effect  of  mercury.  I also  learn  at 
what  degree  the  decomposition  producing  the  white  preci- 
pitate without  mercury  manifests  itself,  both  on  iodide  and 
bromo-iodide  of  silver.  On  the  first  it  is  100  times 
quicker  than  on  bromo-iodide,  and  on  the  last  it  is  pro- 
duced by  an  intensity  300  times  greater  than  that  which 
developes  the  first  affinity  for  mercury. 

In  the  course  of  my  experiments  I have  noticed  a cu- 
rious fact,  which  became  very  puzzling  to  me  until  I was 
able  to  assign  a cause  for  it.  I shall  mention  it  here,  be- 
cause it  may  lead  to  some  further  discoveries.  I had  ob- 
served, that  sometimes  the  spaces  under  the  round  holes 
which  had  not  been  affected  by  light  during  the  operation 
of  the  photographometer,  in  a sufficient  degree  to  deter- 
mine the  deposit  of  mercury,  were,  as  it  ^was  to  be  ex- 
pected, quite  black  ; while  the  spaces  surrounding  them 
were,  in  an  unaccountable  manner,  slightly  affected  by 
mercury.  At  first  I could  not  explain  the  phenomenon, 
except  in  supposing  that  the  whole  plate  had  previously 
been  by  accident  slightly  affected  by  light,  and  that  the 
exposure  through  the  hole  to  another  sort  of  light,  had 
destroyed  the  effect.  I was  naturally  led  to  that  expla- 
nation, having  observed  before,  that  one  kind  of  light 
destroys  the  effect  of  another,  as  for  example,  that  the 


168 


RESEARCHES  IN  PHOTOGRAPHY. 


effect  of  light  from  the  north  is  destroyed  by  the  light 
from  the  south,  when  certain  vapors  existing  in  the  east 
part  of  the  atmosphere  impart  a yellow  tint  to  the  light 
of  the  sun. 

But  after  repeated  experiments,  taking  great  care  to 
protect  the  plate  from  the  least  exposure  to  light,  and  re- 
collecting some  experiments  of  Moser,  I have  found  that 
the  affinity  for  mercury  had  been  imparted  to  the  surface 
of  the  Daguerreotype  plate  by  the  contact  of  the  plate 
having  the  round  holes,  while  the  spaces  under  the  hole? 
had  received  no  similar  action.  But  it  must  be  observed, 
that  this  phenomenon  does  not  take  place  every  time. 
Some  days  it  is  very  frequent,  and  at  some  others  it  does 
not  manifest  itself  at  all. 

In  considering  that  the  plate  furnished  with  round  holes 
is  of  copper,  and  that  the  Daguerreotype  plate  is  of  silver, 
plated  on  copper,  it  is  probable  that  the  deposit  of  mer- 
cury is  due  to  an  electric  or  galvanic  action,  determined 
by  the  contact  of  the  two  metals ; and  perhaps,  the  cir-  • 
cumstance  that  the  action  does  not  take  place  every  time 
would  lead  to  suppose  that  it  is  developed  by  some  pecu- 
liar electric  state  of  the  ambient  atmosphere,  and  to  a de- 
gree of  dampness  in  the  air,  which  would  increase  the 
electric  current.  May  we  not  hope  that  by  understand- 
ing the  condition  in  which  the  action  is  produced,  and  by 
availing  ourselves  of  that  property,  it  would  be  possible 
to  increase  on  the  Daguerreotype  plate  the  action  of  light? 
for  it  is  not  improbable  that  the  affinity  of  mercury  im- 
parted to  the  plate,  is  also  due  to  some  electrical  influence 
of  light.  How  could  we  explain  otherwise  that  affinity 
for  mercury  given  by  some  rays,  and  withdrawn  by  some 
others,  long  before  light  has  acted  as  a chemical  agent? 

From  the  commencement  of  photography  it  was  well 


RESEARCHES  IN  PHOTOGRAPHY. 


169 


known  that  the  rays  operating  being  the  most  refrangible, 
had  a shorter  focus  than  those  producing  white  light ; for 
this  reason  : Daguerre  himself  recommended  the  use  of 
achromatic  lenses,  in  which  all  the  rays  were  supposed  to 
coincide  nearly  at  the  same  focus  ; all  the  camera  obscura 
are  furnished  with  achromatic  lenses,  and  constructed  so 
that  the  plate  could  be  placed  exactly  at  the  same  distance 
as  the  ground  glass  upon  which  the  image  had  appeared 
the  best  defined.  But  with  these  camera  obscura,  it  was 
very  difficult  to  obtain  a photographic  image  so  perfect  as 
that  seen  on  the  ground  glass,  and  it  was  only  now  and 
then,  and  as  if  by  accident,  that  good  pictures  could  be 
produced. 

I soon  observed  this  anomaly,  and  imagined  it  was  due 
to  some  error  in  the  respective  position  of  the  two  frames, 
one  holding  the  ground  glass,  and  the  other  containing 
the  plate,  which  by  warping,  or  some  other  causes,  might 
have  been  shifted  at  different  distances  from  the  object 
glass.  Not  being  able  to  assign  any  other  reason  for  the 
error,  I constructed  a camera  obscura  in  which  the  ground 
glass  and  the  plate  were  exactly  placed  in  the  same  frame. 
In  doing  so,  I was  in  hopes  to  avoid  the  least  error  or  de- 
viation ; but  to  my  surprise,  the  more  correct  I was  in  my 
adjustment,  the  less  I could  obtain  a well  defined  Daguer- 
reotype picture.  This  proved  to  me  that  I had  to  seek 
for  another  cause  of  the  difficulty,  and  before  going  any 
further  I decided  to  try  if  the  visual  focus  was,  or  not, 
really  coinciding  with  the  photogenic  focus.  For  the  ex- 
periment, T placed  at  a distance  from  the  camera  obscura 
several  screens  on  different  plans.  These  screens  being 
covered  with  black  lines,  I could  see  them  very  distinctly 
on  the  ground  glass.  I tried  the  focus  upon  one  of  the 
screens.  To  my  surprise  and  delight,  I invariably  found 


170 


RESEARCHES  IN  PHOTOGRAPHY. 


that  the  one  that  appeared  well  defined  on  the  ground 
glass,  was  confused  on  the  Daguerreotype  plate,  and  vice 
versa . This  was  sufficient  to  prove  to  me  the  cause  of 
the  difficulty  I had  been  laboring  under,  viz.,  that  the 
visual  focus  was  not  coinciding  with  the  photogenic  focus. 
But  the  most  surprising  feature  of  that  discovery  was, 
that  the  photogenic  focus  was  larger  than  the  visual 
focus ; at  first  consideration  it  should  have  been  shorter, 
as  the  rays  operating  in  photography  are  the  most  refran- 
gible, although  I could  not  at  first  understand  the  cause  of 
that  anomaly ; it  was  sufficient  to  me  to  know,  that  in 
order  to  have  a well  defined  Daguerreotype  picture,  1 had 
only  to  set  the  focus  on  the  ground  glass  for  an  object 
nearer  the  camera,  at  the  distance  indicated  by  the  va- 
rious screens.  In  continuing  my  experiment,  I found 
some  lenses  in  which  the  photogenic  focus  was  shorter, 
and  some  others  in  which  the  two  foci  were  coinciding. 

M.  Lerebour,  of  Paris,  was  the  first,  who,  on  my  sug- 
gestion, examined  the  subject.  He  stated  that  by  altering 
the  proportions  between  the  angles  inscribed  in  the  curves 
either  of  the  crown  or  flint  glass,  he  could  render  at 
will  the  photogenic  focus  longer  or  shorter  than  the  visual 
focus ; and  by  the  same  means  could  bring  them  to  the 
same  point.  There  is  no  question  that  M.  Lerebpur  was 
right,  as  far  as  the  result  referred  to  the  chromatic  correc- 
tion ; but  if,  according  to  the  density  of  the  two  glasses, 
certain  curvatures  are  required  to  correct  the  spheraical 
aberration,  these  curvatures  cannot  be  altered  with  impu- 
nity, only  for  the  purpose  of  changing  the  direction  of*the 
most  refrangible  rays.  For  this  reason,  I have  always 
preferred  lenses  in  which  the  spherical  aberration  is  the 
most  perfectly  corrected,  without  caring  if  the  photogenic 
rays  are  or  not  coinciding  with  the  visual  rays,  having  the 


RESEARCHES  IN  PHOTOGRAPHY. 


171 


means  of  ascertaining  how  I could  obtain  on  my  Daguer- 
reotype plate  the  best  defined  image.  In  fact,  from  my 
own  observations,  that  the  red,  orange,  and  yellow  rays  are 
antagonistic  to  the  photogenic  rays,  that  the  last  rays  have 
a greater  power  when  the  former  are  proportionately  less 
abundant,  I am  of  opinion,  that  when  the  photogenic 
rays  are  only  condensed  on  the  plate,  and  that  the  others 
are  disposed  on  the  spaces  more  or  less  distant  from  the 
photogenic  point,  the  action  is  more  rapid  ; rapidity  be- 
ing the  object  in  photography.  I prefer  lenses  in  which  the 
two  foci  are  separated,  although  the  operation  is  a little 
more  difficult,  and  requires  considerable  care. 

The  question  of  the  photogenic  focus  is  involved  in 
another  kind  of  mystery,  which  requires  some  attention. 
I have  found  that  with  the  same  lens  there  exists  a con- 
stant variation  in  the  distance  between  the  two  foci ; they 
are  never  in  the  same  relation  to  each  other ; they  are 
sometimes  more  or  less  separated ; in  some  lights  they  are 
very  distant,  and  in  some  others  they  are  very  near,  and 
even  coincide.  For  this  reason  I constantly  try  their  po- 
sition before  I operate.  I have  not  yet  been  able  to  disco- 
ver the  cause  of  that  singular  phenomenon  ; but  lean  state 
positively  that  it  exists.  At  first  I thought  that  variations 
in  the  density  of  the  atmosphere  might  produce  the  altera- 
tion in  the  distance  between  the  two  foci,  or  that,  when  the 
yellow  rays  were  more  or  less  abundant,  the  usual  rays 
were  refracted  on  different  points  of  the  axis  of  the  foci, 
according  to  the  mean  refrangibility  of  the  rays  composing 
white  light  at  the  moment.  But  a new  experiment  proved 
to  me  that  these  could  not  be  the  real  causes  of  the  varia- 
tion, 1 generally  employ  two  object  glasses,  one  of 
shorter  focus  for  smaller  pictures,  and  the  other  of  larger 
for  larger  images.  In  both,  the  photogenic  focus  is  larger 


172 


RESEARCHES  IN  PHOTOGRAPHY. 


than  the  visual  focus ; but  when  they  are  much  separated 
in  one,  they  are  less  in  the  other.  Sometimes  when  they 
coincide  in  one,  they  are  very  far  apart  in  the  other,  and 
sometimes  they  both  coincide.  This  I have  tried  every 
day  for  the  last  twelve  months,  and  have  always  found  the 
same  variations.  This  density  of  the  atmosphere,  or  the 
color  of  light,  seems  to  have  nothing  to  do  with  the  pheno- 
menon, otherwise  the  same  cause  would  produce  the  same 
effect  in  both  lenses.  I must  observe,  that  my  daily  expe- 
riments on  my  two  object  glasses,  were  made  at  the  same 
moment,  and  at  the  same  distance  for  each,  otherwise 
any  alteration  in  the  focal  distance  would  disperse  more 
or  less  the  photogenic  rays,  which  is  the  case  as  I have  as- 
certained it.  The  lengthening  or  shortening  the  focus 
according  to  the  distance  of  the  object  to  be  represented 
has  for  effect  to  modify  the  achromatism  of  the  lenses. 

An  optician,  according  to  M.  Lerebour’s  calculations, 
can,  at  will,  in  the  combination  of  the  two  glasses  com- 
posing an  achromatic  lens,  adapt  such  curvatures  or  angles 
in  both,  by  which  the  visual  focus  will  coincide  with  the 
photogenic  focus ; but  he  can  obtain  this  result  only  from 
one  length  of  focus.  The  moment  the  distance  is  altered 
the  two  foci  separate  ; because  the  visual  and  photogenic 
rays  must  be  refracted  at  different  angles  in  coming  out  of 
the  lens,  in  order  to  meet  at  the  focus  given  for  one  dis- 
tance of  the  object.  If  the  distance  is  altered,  the  focus 
becomes  longer  or  shorter  ; and  as  the  angle  at  which  diffe- 
rent rays  are  refracted  remains  nearly  the  same,  they  can- 
not meet  at  the  new  focus,  and  they  form  two  images  if 
the  visual  and  photogenic  rays  were  refracted  parallel  to 
each  other  in  coming  out  of  the  lens,  they  would  coincide 
for  every  focus ; but  this  is  not  the  case  ; it  seems  there- 
fore impossible  that  lenses  may  be  constructed  in  which' 


RESEARCHES  IN  PHOTOGRAPHY. 


173 


the  two  foci  will  agree  for  all  the  various  distances  until 
we  have  discovered  two  kinds  of  glasses  in  which  the 
densities  will  be  in  the  same  ratio  as  their  dispersive 
power. 

There  is  no  question  so  important  in  photography  as 
that  which  refers  to  finding  the  true  photogenic  focus  of 
every  lens  for  various  distances.  I have  described  the 
plan  I have  adopted  for  that  purpose.  By  means  of  that 
very  simple  instrument,  every  photographer  can  always 
obtain  well  defined  pictures  with  any  object  glasses.  But 
there  is  another  method  of  ascertaining  the  difference  be- 
tween the  two  foci,  which  has  been  lately  contrived  by 
Mr.  G.  Knight,  of  Foster-lane,  London.  As  that  gentle- 
man has  been  kind  enough  to  communicate  to  me  the 
very  ingenious  and  simple  apparatus  by  which  he  can  find 
at  once  the  exact  difference  existing  between  the  visual 
and  photogenic  focus,  and  place  the  Daguerreotype  plate 
at  the  point  where  the  photogenic  focus  exists,  I am 
very  glad  that  he  has  intrusted  me  with  the  charge  of 
bringing  his  invention  before  the  British  Association. 
For  the  scientific  investigation  of  the  question,  Mr. 
Knight’s  apparatus  will  be  most  invaluable,  as  it  will  af- 
ford to  the  optician  the  means  of  studying  the  phenome- 
non with  mathematical  accuracy. 

Mr.  Knight’s  apparatus  consists  in  a frame  having  two 
grooves,  one  vertical,  in  which  he  places  the  ground  glass, 
and  the  other  forming  an  angle  with  the  first.  The 
planes  of  the  two  grooves  intersect  each  other  in  the  mid- 
dle. After  having  set  the  focus  upon  the  ground  glass,  this 
last  is  removed,  and  the  plate  is  placed  on  the  inclined 
groove.  Now,  iF a newspaper,  or  any  other  large  sheet 
printed,  is  put  before  the  camera,  the  image  will  be  repre- 
sented on  the  inclined  plate,  and,  it  is  obvious,  that  in  its 


174 


RESEARCHES  IN  PHOTOGRAPHY. 


inclination,  the  various  points  of  the  plate  will  meet  a dif- 
ferent focus.  The  centre  of  the  plate  will  coincide  with 
the  visual  focus,  and  in  the  other  direction  it  is  longer. 
The  frame  is  furnished  with  a scale  of  division  having  the 
zero  in  the  centre ; when  the  image  is  represented  on  the 
Daguerreotype,  by  applying  against  it  another  moveable 
scale  of  division,  similar  to  the  other,  the  operator  can 
find  what  is  the  division  above  or  under  zero  at  which  the 
image  seems  the  best  defined ; and  after  having  removed 
from  the  camera  the  experiment  frame,  and  set  the  focus 
as  usual  upon  the  ground  glass,  he  has  only  to  move  the 
tube  of  the  object  glass  by  means  of  the  rack  and  pinion, 
and  to  push  it  in  or  out  of  a space  corresponding  with  the 
division  of  the  scale  indicating  the  deviation  of  the  true 
photogenic  focus.*  The  tube  of  the  object  glass  is  foi 
that  purpose  marked  with  the  same  scale  of  division. 

Before  concluding,  I shall  call  the  attention  of  all  pei 
sons  conversant  with  optics,  to  the  singular  fact  I hav  > 
observed  respecting  the  constant  variation  of  the  foci.  L 
have  not  been  able  yet  to  find  its  cause,  and  I leave  its  in- 
vestigation to  more  competent  persons. 

I must  remark  that  the  principal  difficulty  of  obtaining 
well  defined  pictures,  is  due  to  the  dispersion  of  the  chem- 
ical rays  which  are  spread  by  glass  prisms  on  a more  or 
less  elongated  space  ; so  that  a spectrum  formed  by  such 
glass  prisms,  may  be  shorter  or  longer  according  to  the 
dispersive  power  of  the  glass  composing  the  prism.  It 
happens,  therefore, 'that  in  some  object  glasses  that  dis- 
persion may  be  less  than  in  some  others ; and  in  such 

* This  fact  has  long  been  known  to  Daguerreotypists  in  the  United 
States,  and  camera  boxes  are  now  constructed  to  obviate  the  diffi- 
culty. 


RESEARCHES  IN  PHOTOGRAPHY. 


175 


lenses  the  variation  of  the  two  foci  will  be  less  observa- 
ble. It  appears,  besides,  that  with  the  same  glass,  the  dis- 
persion is  greater  or  smaller  according  to  the  quality  of 
light  or  other  atmospheric  influences,  and  also  according 
to  the  angle  of  incidence.  Sometimes  the  various  screens 
intended  to  try  the  focus,  appear  all  well  defined,  although 
the  screens  are  placed  at  different  distances  from  the  ca- 
mera, in  a range  of  twelve  or  fifteen  inches.  In  this  case, 
it  is  not  so  important  to  find  the  very  best  focus ; and  the 
image  may  be  well  defined  whether  the  object  is  placed 
at  twelve  or  fifteen  inches  nearer  or  further  from  the  ca- 
mera. But  in  some  other  circumstances,  in  setting  the 
focus  on  one  screen,  the  next,  which  is  three  inches  dis- 
tant, is  confused,  and  the  following  still  more ; in  those 
cases,  the  dispersion  is  at  its  maximum ; and  it  is  then 
that  it  is  of  the  greatest  importance  to  attend  to  trying 
the  focus  before  operating. 


CHAP.  XVL 


POSITION. 

True  grace  is  inherent  in  nature,  and  is  the  attribute 
of  the  soul  overflowing  with  a God-like  perception  of  the 
grand  and  beautiful  in  nature ; it  is  as  far  beyond  the 
reach  of  the  mind,  grovelling  in  the  depths  of  ignorance, 
to  the  one  as  to  the  other  ; and  it  is  for  this  reason  that 
we  find  so  many,  who,  although  they  may  admire  a fine 
picture,  statue,  or  edifice,  are  at  fault,  when  asked  the 
wherefore. 

We  have  only  to  look  upon  the  red  man  of  the  forest, 
in  his  wild,  free  state,  for  a confirmation  of  this  fact. 
Nature  is  his  only  study,  and  from  that  he  looks  up  to 
nature’s  God  ; views  Him  through  His  works — knowing 
little,  it  is  true,  of  His  great  omnipotence  and  tender  mer- 
cies— and  looks  upon  Him  with  a sublimity  of  awe  that  is 
evident  in  every  step,  every  motion,  every  gesture,  and 
every  thought  of  his  mind.  It  may  be  thought  by  some 
that  I am  romancing  in  this  picture  of  the  Indian  charac- 
ter ; but  a long  sojourn  among  the  north-western  tribes,  a 
knowledge  of  their  religious  rites,  and  scenes  often  wit- 
nessed in  the  forest  and  the  council  chamber,  convinces 
me  that  in  the  savage  breast  there  lurks  a true  conception 
of  the  graceful  and  beautiful. 

Still  I would  not  have  it  supposed,  for  a moment,  that 
any  one  is  debarred  from  appreciating  and  acquiring 
grace ; although  it  were  not  possible  to  bend  the  lordly 


178 


POSITION. 


oak  in  unison  with  the  graceful  lily  or  violet,  yet  its  un- 
seemly and  tortuous  branches  and  rough  exterior  may  be 
trained  and  trimmed  by  skillful  hands  to  delight  the  refined 
taste,  while  it  is  deprived  of  none  of  its  grandeur. 

So  it  is  with  the  human  form.  Education,  that  great 
moulder  of  the  mind,  exerts  its  powerful  influences, 
changes  the  boor  to  the  philosopher,  the  awkward  hind  to 
the  stately  gentleman,  and 

“ Just  as  the  twig  is  bent  the  tree  inclines;” 

but  only  just  in  proportion  to  the  natural  instinct  of  the 
mind,  and  the  bent  given  to  it,  will  it  duly  observe  and  ap- 
preciate. 

The  body  may  be  said  to  be  under  the  same  natural 
law.  We  have  only  to  visit  any  dancing-school,  study  the 
character  and  ability  of  the  teacher  and  his  pupils,  to  un- 
derstand this  fact  fully.  If  he  be  one  in  whom  grace 
abounds,  you  will  see  him  gradually  mould  that  awkward 
miss  or  boorish  master  into  personifications  of  grace  and 
elegance  ; but  if  he  be  a mere  automaton,  who,  without  one 
idea  on  the  poetry  of  motion,  has  resolved  to  turn  into  dollars 
and  cents  what  little  knowledge  of  the  art  he  has  occasion- 
ally picked  up,  you  will  see  that  awkward  miss  and  boorish 
master,  still  the  awkward  miss,  still  the  boorish  master ; 
while  the  naturally  graceful  will,  by  their  own  natural  in- 
stinct, in  grace  improve.  Dancing  academies,  properly 
conducted,  are  the  schools  of  grace.  There  is  this  differ- 
ence, however,  between  a natural  and  a cultivated  taste  ,* 
the  first  leads  while  the  latter  follows. 

Any  one  can  be  a Daguerreotypist,  but  every  one  can- 
not be  successful.  A picture  may  be  mechanically  well 
done,  yet  not  be  pleasing  to  the  eye  or  the  taste ; and 
where  an  operator  is  proverbially  deficient  in  producing 


POSITION. 


179 


sucn  as  are,  he  must  expect  to  see  his  next  door  neigh- 
bor who  excels  him  in  taste,  as  well  as  being  his  equal 
in  mechanical  skill,  receive  the  patronage  he  deserves. 

To  obviate  this  superiority,  is  in  the  power  of  almost 
every  one,  who  is  not  too  indolent  to  study.  Allison  on 
T aste,  is  a good  book  to  begin  with ; but  do  not  stop 
there ; go  to  the  studios  of  our  best  artists,  study  the  posi- 
tions of  their  finest  productions,  observe  the  manner  in 
which  they  dispose  of  the  drapery,  the  position  of  the 
figure,  and  the  effect  of  light  and  shade.  Next  visit  ex- 
hibitions of  statuary  of  acknowledged  merit,  and  study 
them  carefully ; drink  in  deeply  the  criticisms  of  those 
whose  tastes  are  above  reproach,  and  fix  indelibly  in 
your  mind  such  comparisons  as  are  considered  just.  By 
this  means  you  will  be  enabled  to  form  a better  judgment 
in  regard  to  the  merits  and  demerits  in  the  figure  of  your 
sitter,  and  place  them  in  the  most  striking,  graceful,  and 
pleasing  position. 

It  is  as  necessary  to  study  the  various  conformations  of 
the  body,  in  order  to  place  it  in  ease  and  elegance,  as  to 
learn  the  alphabet  before  you  can  write  a word  ; and  as 
every  individual  differs  more  or  less  in  structure  from 
another,  the  points  of  difference  should  be  noted,  and  po- 
sition given  accordingly. 

These  are  matters  which  must,  of  necessity,  be  left  to 
the  taste  of  the  artist,  and  if  he  finds  himself  deficient,  he 
must  endeavor  to  follow  the  directions  above  given,  or 
seek  the  advice  and  instruction  of  those  who  are  capable 
of  giving  them.  But  I have  said,  in  a general  way,  as 
much  as  time  and  space  will  permit,  and  will  now  endea- 
vor to  particularize,  although  I candidly  admit  that  I give 
my  own  views  entirely  ; and  as  they  may  differ  from  other 
and  more  competent  tastes,  they  must  be  taken  only  for 


ISO 


POSITION. 


what  they  are  worth,  and  their  deficiencies  or  errors  avoid- 
ed by  the  study  of  other  authors. 


Fig.  32. 


A large  skylight  with  a screen  of  blue  tissue  paper — or 
the  glass  may  be  tinged  with  blue — gives  the  best  light  for 
Daguerreotype  purposes,  as  well  as  for  oil  painting.  In 
the  first  place,  because  the  light  is  more  evenly  diffused 
about  the  room,  and  enables  the  operator  to  place  the  sit- 
ter so  as  to  form  the  best  and  most  pleasing  contrasts  or 
light  and  shade.  In  the  second  place,  the  blue  tissue 
paper  has  the  property  of  separating  the  yellow  or  non- 
photographic rays  of  light  from  the  photographic,  and  ad- 
mitting the  latter  only  into  the  room. 


POSITION* 


181 


Fig.  33. 


As  I have  said  in  my  “ Hints  and  Suggestions,”  Chap. 
IV.,  the  sitter  should  be  placed  so  as  to  hide  any  defects 
in  the  conformation  of  the  body  or  limbs,  and  to  bring 
out  all  the  good  points.  I know  of  no  fixed  rule  to  be  ob- 
served, but  should  judge  from  my  own  observation,  that 
where  a person  is  short,  and  inclined  to  corpulency,  as  great 
a distance  from  the  object  glass  as  possible,  with  a slight 
inclination  to  one  side,  would  be  an  advantage ; while  to 
a tall,  spare  figure,  a nearer  approach  to  the  spectrum,  and 
a full  front  of  the  body,  would  produce  good  effect.  If 
the  arms  and  legs  are  long  in  proportion  to  the  body,  a 
slight  contraction  of  the  first,  and  the  latter  drawn  up 
near  the  chair,  but  not  to  so  great  a degree  as  to  be  awk- 
ward, will  improve  the  picture.  The  hands  should  rest 
perfectly  easy  on  the  lap,  neither  too  low  or  too  high  ; or 


182 


POSITION. 


one  may  rest  upon  a table,  and  the  other  support  the  folds 
of  drapery  or  hold  a book.  In  any  case  it  should  be 
so  placed  as  to  observe  the  unities  of  figure — a short, 
thick  hand  should  present  the  thumb  in  the  foreground, 
the  first,  third,  and  second  fingers  being  slightly  bent  un- 
der. A very  long  hand  looks  best  with  the  back  in  view, 
and  a really  beautiful  one,  neither  too  long  or  short,  should 
present  a two-thirds  view,  allowing  it  to  taper  off  gracefully 
from  the  second  joint  of  the  little  finger  to  the  tip  of  the 
first.  To  thrust  the  legs  forward  at  an  inclination  of 
forty  or  forty-five  degrees,  is  very  inelegant ; and  to  lean 
back  in  the  chair  with  one  arm  hanging  over  it,  and  the 
thumb  of  the  other  stuck  in  the  button-hole,  is  any  thing 
but  graceful.  A slight  bend  to  the  body  forward,  and  a 
little  to  one  side,  will  always  improve  the  position  and 
render  the  picture  pleasing.  A shawl  or  cloak  thrown 
easily  and  gracefully  over  the  shoulders,  and  so  disposed 
as  to  hide  any  deformity,  and  give  strong  contrast  between 
light  and  shade,  will  prove  very  effective. 

Never  allow  your  sitter  to  sit  “ bolt  upright ,”  and  look 
directly  into  the  camera,  for  reasons  already  given ; it  is 
very  bad  taste,  and  it  is  equally  so  to  place  either  of  the 
arms  “ a-kimho ,”  or  in  a group,  for  one  to  put  an  arm  over 
the  chair-back  and  on  the  shoulder  of  the  other.  In  a pic- 
ture where  two  persons  are  to  be  represented,  it  would  be 
much  more  elegant  either  to  let  one  stand  leaning  grace- 
fully on  the  chair  of  the  other,  at  a table,  or  against  a pil- 
lar ; in  either  case  they  should  be  turned  partially  to- 
wards each  other,  as  if  in  the  act  of  conversing.  Or  they 
may  be  seated  opposite  at  a table,  the  right  arm  of  the 
one  and  the  left  arm  of  the  other  resting  upon  it,  their  bo- 
dies slightly  bent,  with  an  inclination  to  the  right  and  left 


POSITION. 


183 


if  in  conversation.  The  shoulders  should  be  suffered 
to  fall  off  naturally,  and  not  be  crowded  upon  the  neck. 

Where  a group  of  more  than  two  is  taken,  the  judg- 
ment of  the  operator  alone  must  be  consulted,  as  their  po- 
sitions must  depend  upon  the  size  and  sex,  and  the  na- 
ture of  the  light.  I have  seen  beautiful  effect  produced 
(in  a family  group)  by  seating  the  husband  in  the  chair, 
the  wife  on  an  ottoman  at  his  feet,  resting,  with  a slight  in- 
clination, upon  his  knee,  and  looking  affectionately  up 
into  his  face ; while  one  child  playfully  climbed  the  back 
of  his  chair,  and  looked  over  his  shoulder  into  his  face,  a 
second  stood  by  his  side  playing  with  his  watch  seals  and 
key,  while  to  complete  the  picture,  the  eldest,  a lovely 
girl  of  eight  years,  stood  on  the  opposite  side,  just  behind 
the  mother,  caressing  the  ringlets  that  gracefully  hung 
from  the  parental  head  over  the  shoulder. 

What  positions  could  be  more  beautiful,  graceful,  or 
affectionate  1 At  the  same  time  it  brought  every  figure 
in  perfect  focus,  and  the  result  was,  a picture  magnificent 
in  the  extreme. 


184 


POSITION. 


An  inspection  of  Figures  32  and  33,  will  give  an  idea 
of  the  difference  between  a graceful  picture  and  one  ex- 
cessively awkward. 

Fig.  34. 


POSITION. 


,85 


Fig.  35. 


The  position  of  the  face  should  next  be  considered. 
There  are  many  points  to  be  observed  in  placing  the  head 
in  a position  to  be  the  most  effective.  I have  noticed  that 
in  a majority  of  instances,  that  the  most  homely  faces  make 
the  handsomest  pictures  ; this  is  a fact  that  will  be  duly 
appreciated  by  all.  and  will  undoubtedly  lead  to  the  query 
why  it  is  so  ? and  I answer  that  it  is  mainly  owing  to  the 
fact  that  ugly  faces  have  more  strongly  marked  outlines 


186 


POSITION. 


than  those  that  are  beautiful ; the  image  produced  there- 
fore by  the  camera  possesses  greater  contrast  in  light  and 
shade,  which,  while  they  give  a greater  depth  of  tone  and 
a more  pleasing  effect,  do  not  betray  the  defects.  There 
are,  of  course,  exceptions,  but  they  are  few,  and  might  be 
remedied  by  proper  position. 

We  will  take  for  instance,  Figures  34  and  35  as  an  il- 
lustration. They  are  both  portraits  of  our  worthy  and 
gallant  President  in  different  positions.  While  the  first 
represents  him  in  a very  unfavorable  position,  the  other 
shows  him  as  he  really  is,  when  animated  and  graceful. 

In  Daguerreotyping,  I should,  as  a general  thing, 
adopt  the  following  rules,  although  in  some  instances  I 
should  possibly  have  to  deviate. 

A full  round  face,  with  large  mouth,  small  eyes  and 
nose,  I should  make  what  is  called  a half  face,  that  is, 
where  the  whole  of  one  side,  and  a very  small  portion  of 
the  other  is  seen,  being  but  a slight  remove  from  the  pro- 
file likeness — Fig.  34. 

Of  a moderately  full  face,  with  aquiline  nose  and  hand- 
some mouth  and  eyes,  I would  make  a three-quarter  pic- 
ture, wherein  all  the  features  of  one  portion  of  the  face 
would  be  visible,  and  about  one-fourth  of  the  other. 

A face  in  which  the  features  were  a little  more  promi- 
nent, a three-quarter  view  would  be  preferable. 

And  one  in  which  the  lines  are  very  strongly  marked, 
and  bordering  upon  projecting  angles,  I should  decidedly 
make  a full  front  view. 

Always  endeavor  to  throw  life  into  the  expression  of 
your  sitter’s  face  by  animate  conversation,  or  a pleasant 
and  polished  witticism,  avoiding  all  approach  to  the  broad 
grin. 

I am  not  aware  that  any  one  else  has  made  these  obser- 


POSITION. 


187 


vations,  and  there  may  be  those  who  will  differ  from  me ; 
be  that  as  it  may,  I give  them  for  what  they  may  be  worth, 
and  shall  be  happy— if  my  ideas  are  erroneous — to  have 
them  corrected  by  an  older  and  abler  hand.  I have  re- 
deemed my  promise  to  those  who  desired  the  insertion  of 
this  chapter  to  the  best  of  my  ability ; not  venturing  to 
express  my  own  opinions  until  several  applications  to  those 
whom  I consider  as  more  competent  had  failed,  to  meet 
that  encouragement  I was  led  to  expect.  I might  occupy 
two  hundred  pages  of  a work  of  this  size  on  this  subject, 
without  exhausting  it ; but  I trust  what  I have  said  will  be 
sufficient  for  our  present  purpose. 


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